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Song Title: Let It Go

Single Sentence Singles Review: Calling something “infectious” may not be the smartest move in 2020, but Levi Rowan is getting us all nostalgic for the word as this latest track is as hot as a fever and is not that easy to shake – unless of course you’re shaking along with the contagious end-of-summer anthem.

Beyond The Track: What’s the song all about? Here is what Rowan had to say about it.

“Let It Go is an extremely personal track because it’s basically my origin story. Through multiple instances, I detail negative situations that have influenced me to see the world through an at times frustrating lens. This song was made to lift that off of my shoulders. It’s also a message to everyone not to judge a kid before you know them, it’s really easy to deem someone a bad apple off hearsay before you know what seeds they’ve been grown from. Growing up and trying to find your place in this world is difficult, hopefully, this song will help people take a breath.”

Song Title: Sometimes

Single Sentence Singles Review: More of an always song than a sometimes one, this track from Boston’s Air Traffic Controller is a giddy good time powered by Dave Munro’s velvety vocals and a series of tinny tings that elicit uncontrollable full-body bobs.

Beyond The Track: Although no album has been formally announced yet, this single has been served up to tease an expected 2021 release.

After years of touring as a backup vocalist for artists like Lenny Kravitz and Duran Duran, Jessie Wagner is prepared to step into the spotlight with her debut solo album, Shoes Droppin, set for release on October 9 via Wicked Cool Records. But sharing her songwriting point of view with the world also means reflecting on the emotions – good and bad – that inspired her to take this journey.

“If I’m being reflective and feel slightly melancholy, then those emotions I put down in song will hit me over the head like a sledgehammer,” she said in an exclusive interview with TrunkSpace. “But if I’m in a good place, the songs are more of a reminder that I made it through.”

We recently sat down with Wagner to discuss why writing is a cathartic practice, becoming an artist without walls, and engaging audiences in the middle of a pandemic.

TrunkSpace: Songwriters are at their best when their writing is truthful and saying something. What did you hope to accomplish with your writing when you set out to create what would later become your debut solo album, Shoes Droppin?
Wagner: Some of the songs written for this album came out of the darkest period of my life. I was dealing with a loved one who became completely dependent on me and I became their caretaker. I wasn’t prepared for the responsibility of it all or the conflicting emotions I endured. After I gained a bit of footing, I looked at the songs I had written during that period and decided I needed to put them out in the world. I also had songs that I loved but hadn’t done anything with. So I decided that since I lived through that experience, I was going to put everything I had in to this project and see where it led.

TrunkSpace: Unfortunately, truth can also sometimes hurt. Does pouring so much of yourself into a song or lyric leave you feeling vulnerable, especially when you’ll have to revisit that song – or the emotion that inspired the song – over and over again?
Wagner: It depends on the mood you’re in. If I’m being reflective and feel slightly melancholy, then those emotions I put down in song will hit me over the head like a sledgehammer. But if I’m in a good place, the songs are more of a reminder that I made it through. In a nutshell, sometimes it’s despair and sometimes its triumph.

TrunkSpace: Is writing a form of therapy that helps you work through your own thoughts and emotions? Does completing a song fill a void and raise you up?
Wagner: It can definitely be a cathartic experience. It is harder for me to say the things I need to say when I’m face to face with someone. I will write them a letter or sometimes, it becomes a song. I’ve even woken up out of a dream to write lyrics down. Yes, I find writing, in any form, therapeutic.

TrunkSpace: Listening to music is certainly an escape for us. What do you get writing and performing that you can’t achieve as a listener alone? What does that extra creative bump do for your brain that drifting off to another artist’s album is unable to achieve?
Wagner: When you’re listening to someone else, you might feel like their music is speaking to you, but in the end, that’s someone else’s intent that you are interpreting. When you’re writing, you’re bearing your soul. Someone else can’t do that for you. When you’re on stage, you’re giving a piece of yourself to that audience and it’s so much more intense and personable when it’s your own music. You can connect wholly with this music because it came from you.

TrunkSpace: Who is Jessie Wagner the artist, and, would the you who first looked to music as a career be surprised by the answer you’re giving today?
Wagner: I don’t think there’s one definable answer for who I am as an artist. I’m someone who just does what I like. I don’t know which box my songs are going to fall in and I don’t want to. I guess I hope I can remain an artist without walls. I enjoy doing so many different types of music and I’m glad that with this project, I was able to express different sides to my writing. I think when I was younger, I tried to stay within a box. The music I wrote was me, but just a sliver. I think now, I’m much more open to trying different things musically.

TrunkSpace: You’ve had a tremendous career in music, fronting Army of the Underdog and touring as a vocalist alongside artists like Lenny Kravitz, Kid Rock and Duran Duran, to name a few. Does Shoes Droppin feel like a new chapter in your journey with music?
Wagner: It’s definitely a debut of a part of Jessie that most people don’t really know. When I’m on tour with another artist, I’m just an extension of that person or group. I think Army of the Underdog paved the way for this album because I was starting to open up with my writing style and with what directions I wanted the songs to go in. And now, here I am with this interesting collection of songs that are honest representations of where I’d like to go.

TrunkSpace: Normally you would tour to support a new album, but that is not something that is possible in every state right now. How do you get the word out for Shoes Droppin when people can’t get out themselves?
Wagner: I guess like every other artist out there trying to navigate the COVID new world order, I’m trying to take advantage of social media as much as I can. I do live stream shows and I try to stay interactive with those that like my music. It’s been extremely challenging to keep people engaged. I hope we’ll find more opportunities to perform in front of people sooner than later.

TrunkSpace: What are you most proud of with the album?
Wagner: When I finished the album, I just hoped someone would like it and maybe connect with one or two of the songs I had written. When Stevie Van Zandt said he would like to add me to his label, that pretty much exceeded all my expectations. It’s validating when a respected songwriter likes what you’ve done.

TrunkSpace: There are some amazing vocals on Shoes Droppin. Which song – or piece of a song – was the most difficult to “get right” in the studio and why?
Wagner: I think cadence-wise, “Caretaker” was the most difficult. It’s easy to sing into voice notes for a reference. It’s a different story when you’re having to keep time with an instrument! But it became my favorite song on the record.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Wagner: I’ve questioned my career choice so many times. I was an academic in school. I thought I’d be a doctor or a lawyer. But I kept being drawn to the stage. I struggle with self doubt and compare myself to others in this career that have done better and gone farther than me. I’m always asking myself, how much longer will you do this? It’s so hard. But again, something keeps me coming back to the stage. It is a complicated relationship I have. It feels like home when I’m performing, and hell when I can’t find that a next gig. But I’ve come so far and I hope this record and the music I create in the future pushes me even further. I hope 10 years from now, I will have stopped asking myself why and will finally say well-done.

Shoes Droppin drops October 9 on Wicked Cool Records. The single “End of Time” is available now.

TrunkSpace Exclusive Premiere
Taylor Ashton’s Skeletons by the Sea

We fell in love with Taylor Ashton’s The Romantic earlier this year and we’re as happy as a seagull at the beach to premiere his latest video for the single, “Skeletons by the Sea.” Pull up a towel, slap on some sunscreen, and let’s discover how the track and video came about from the man himself!

“‘Skeletons by the Sea’ came to me on the beach one day in Brooklyn. I love what the beach does to people. I think you can’t help but become a little childlike, maybe because the ocean is way too big for your mind to understand. I was zoning out and gazing in awe at the beauty of all the different colors and shapes and sizes of bodies laying on the sand. Suddenly it occurred to me that every single person has a skeleton, and that simple realization felt profound. This song is a reverent, unconditional love letter to all bodies. My own, and everyone else’s. We all deserve to hear that our bodies are miraculous and worthy of love and protection, especially in an often jarring, isolated era.

The song was finished after the onset of the pandemic, so Alec (production/flute), Louis (drums/bass), and Akie (piano) sent in their parts and I recorded my vocals and Rachael’s backgrounds at home.

For the video, I shot a little bit of new footage, and I also used a few slow-mo shots I’ve taken over the years not knowing what I’d use them for, but about 80% of the clips were kindly sent to me by friends or fans who responded to a cryptic Instagram story I posted.

My wife and I live in Brooklyn, but for the moment we’re back in Canada where I’m from, and this entire video was conceived and produced during our 14-day self isolation period when we entered the country. To make a green screen, I hung up a lime green tent I found in the closet of the place we’re renting, and quarantine led me to discovering some other homespun ways to approximate some other old movie tricks, including the analog process of shooting old movie title cards. I animated the lyrics by moving them around with my hands or by filming them through some water in the bottom of a clear dish to create a rippling effect. I also enjoyed slipping in a few sneaky movie references…”

Check out the video below and buy the single here!

From the pop-punk band The Fiendz in the late ‘80s to the power-pop quartet The Rosenbergs more than a decade later, Joe Darone has been deep in the trenches of the music scene since the age of 15, a number that is a common thread when looking at his musical career in 2020. He’s now 15 years into his solo project, Suit of Lights, and prepared to release his fifth album, Hide and Seek, this Friday. And with so much writing and recording under his belt, he’s not taking any of it for granted, especially this year.

“On the one hand, the pandemic added another layer of chaos into the mix but at the same time, it gave me some perspective,” he said in an exclusive interview with TrunkSpace. “How can I stress out over a vinyl pressing when 800,000 people have died?”

We recently sat down with Darone to discuss nurturing the unexpected, creating an album of games, and why he may be sitting down with the latest Lemon Twigs album right now.

TrunkSpace: You’re now 15 years into your Suit of Lights journey. Has your creative point of view changed with the project from when you started it in 2005 to where you are now in 2020? Do you view the project differently than you did when it began?
Darone: From the get-go I let the listener know that they can expect the unexpected. My favorite artists have a range of moods and styles, so it never gets boring.

TrunkSpace: No one is closer to the Suit of Lights music than you are. Sonically, what do YOU hear as the biggest differences between your self-titled debut and your latest release, Hide and Seek?
Darone: The new album is a bit lighter thematically, which definitely translated to the music. The arrangements are a bit more complex and playful. I leaned heavily into the 60s pop influence, it’s even a little psychedelic at times. I played a lot more on keys than any of the previous albums.

TrunkSpace: People can change a lot in 15 years. Lyrically, are you writing about different subject matters now than you were when you first started the project? Do you feel like your approach to sharing what you have to say has changed at all?
Darone: Well, the first album was pretty dark, sort of a meditation on death. My father had passed away and I wrote “Goodbye Silk City,” which became the first finished song and kinda set the tone for the album. In contrast, Hide and Seek is an album of games and I intentionally set out to treat the whole process as play-time.

TrunkSpace: We love a good lyric here at TrunkSpace. What’s a favorite of yours from Hide and Seek and why are you proud of that particular snippet?
Darone: The title track is about the nature of existence, which reflects my personal philosophy. The lyrics go: “The Great Pretender thinks he’s you and I. And all the creatures in the sea and sky. In this way, he sets out for an adventure. The joyous, frightening and terrible. Know that these are only dreams. A fantasy and fiction. A child’s play of heroes in action. And when he wakes up they disappear. Playing hide and seek forever and ever.”

TrunkSpace: The album is due to drop August 28. What kind of emotions do you juggle with when releasing new material to the masses, and is the experience different this time around given that the entire world, essentially, has ground to a halt?
Darone: A normal release involves a bunch of moving parts and it’s bit of work. On the one hand, the pandemic added another layer of chaos into the mix but at the same time, it gave me some perspective. How can I stress out over a vinyl pressing when 800,000 people have died?

TrunkSpace: Normally you would tour to support a new release, but that is not something that is possible in every state right now. How has promoting the upcoming album changed? How do you get the word out when people can’t get out themselves?
Darone: I guess it was around April, we were discussing the prospect of a release date and campaign for the album. I definitely wanted it out this year, since the last album came out four years ago. So we’re just hoping for the best! So far it’s being covered pretty well in both online and print magazines. It’s also being serviced to College Radio.

TrunkSpace: If someone sat down to listen to Hide and Seek front to back, what would they learn about you both as an artist and as a person?
Darone: That’s actually my ideal scenario, ‘cuz I’m an album guy. I like to sit down in front of a turntable, and read along with the lyrics. The Lemon Twigs just released a new album, and I can’t wait to sit down with that. Anyway, to answer your question – I think you’ll get a really good sense of my musical taste, personal philosophy, and sense of adventure.

TrunkSpace: What are you most proud of with the album?
Darone: I’m proud of the fact that I’m still here, still sticking to my guns, still taking chances.

TrunkSpace: You’ve been involved in music for a long time now. Knowing what you know now, what advice would you give young Joe who was first starting out as a musician if you could whisper into his ear?
Darone: I’d tell him to take piano and voice lessons.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Darone: No. I’m actually fascinated by time travel, but I think seeing my own future would create all sorts of problems. You can set out to change an event in time and wind up causing it.

Hide and Seek is available this Friday.

GOING BIG WITH JASON HOWARD: BIG GIRLS #1

Story and Art: Jason Howard
Letters: Fonografiks
Published By: Image Comics
Cover Price: $3.99

We, comic book fans are no stranger to certain “rituals”, unique to our geekdom, such as keeping and treasuring hundreds of pollybaged floppies in long boxes – all of which might or might not be read ever again – or getting multiple copies of our favorite books in a myriad of formats. But perhaps, one of the most enjoyable of those rituals is picking up a #1 issue of a book we’ve never heard of before at our friendly LCS (Local Comicbook Shop). And it gets even better when said #1 issue is as good as the debut of BIG GIRLS, the first solo project of renowned artist Jason Howard (Trees, Astounding Wolfman).

Released a couple of weeks back by Image Comics, Big Girls is set sometime in the future, years after an incident – of which we only get a few clues in this first issue – detonated a genetic disease that affected both men and women alike, but with a big (pun intended) twist: men could grow into giant, kaiju-like, mindless monsters, while women simply grew several stories high, retaining their intelligence and human appearance.

While not every human is affected by this mysterious disease, this situation is already part of the culture and everyday life of this world´s society. Pregnancy registration became mandatory, in order to monitor any potential anomaly, and safe zones were put in place for regular citizens to live in. However, constant male monster attacks call for a special team dedicated to fight them back and keep people safe. A team of – wait for it – BIG GIRLS.

Although this is Jason’s first project as a full author, and despite carrying a good heap of exposition in the first issue, the book flows with a comfortable rhythm through the panels, using every available page to tell the story. And when I say every available page, I really mean it: even the usual credit page in almost every Image book is used as an establishing shot to kick start the story.

Jason is doing every part of the artwork: layouts, pencils, inks and colors, helped only by Fonografiks with the lettering. His art in BIG GIRLS has much more in common with his previous work in Trees than with his other longest-running book in Image Comics: Astounding Wolfman. Like in Trees, his inks are rougher and edgier, and he uses crosshatching to add depth to both characters and backgrounds. To some readers this stylistic choice could make them think that the artwork is a bit “dirty”, but it fits nicely with the world the characters live in and the situations they have to face on a daily basis.

His composition and storytelling are very clear and easy to follow, and his character’s designs allows the reader to fully identify who´s who in the panels. Manga and anime aficionados will immediately recognize certain influences in the creatures ‘design, the clothes and equipment of Ember –our main character so far- and the composition of certain shots, used both in classic franchises such as Neon Genesis Evangelion and modern day favorites like Attack On Titan.

All in all, BIG GIRLS # 1 is a solid debut for a new regular series, and I strongly recommend you to grab a copy at your friendly LCS or digital comic store of your choosing (Comixology, Google Play and Apple Books).

Song Title: Buzzin’ Fly

Single Sentence Singles Review: As far as covers go, this reimagining of Jeff Buckley’s Buzzin’ Fly is buzzing with so much warmth and richness that it simultaneously pays perfect homage to the original while also holding true to the exceptional Bonny Light Horseman sound.

Beyond The Track: Bandcamp proceeds from “Buzzin’ Fly” will go to support Bonny Light Horseman’s touring band and crew members impacted by the COVID-19 shutdown. Get the single here.

Anna Graceman released her latest album, The Way The Night Behaves, in the middle of a worldwide pandemic, grounding the pop songstress and keeping her away from the road where she could promote the album in a traditional live venue setting. And while she misses performing on stage, she is finding her groove holding virtual concerts, and more than anything, is just happy to be able to share new music with her fans who need an emotional escape – something that music continues to be for her.

“I’m vulnerable and it allows me to work through things,” she said in an exclusive interview with TrunkSpace. “Music is a therapy for me.”

Her latest single, “Slip (Frank Pole Remix)” is available now.

We recently sat down with Graceman to discuss keeping her creative options open, the Olympic connection, and why working with Bebe Rexha was a dream come true.

TrunkSpace: You have had such an interesting career and seem to continue to find new ways to bring your music to the masses. How important is it for an artist to stay open to new ideas and approaches, especially given that the way people consume music/content seems to be continuously evolving?
Graceman: I always try to stay open. Different kinds of music and new ways of experiencing music can expand your reach when it comes to connecting with people. I’m a huge admirer of vinyl records and yet I love that I can stream any song anywhere I want. You don’t have to compromise yourself or your music in order to move with the times. If anything, there are more options and opportunities to connect through music.

TrunkSpace: What is one of the biggest lessons you’ve learned up to this point in your career as it relates to promoting music and giving a song/album its best chance at finding an audience?
Graceman: I landed a song of mine on some playlists recently and the amount of attention it’s received since then has been incredible. I’ve been able to reach people all the way in Norway and Sweden, places I’ve never even been to before. It can be a bit of a gamble because sometimes you’ll land on playlists and sometimes you won’t but it’s something that any artist can do.

TrunkSpace: How much of what you knew about promoting a record had to be thrown out the window with the release of your latest album, The Way The Night Behaves, which was released in the middle of such a difficult time for so many people given the pandemic and social upheaval going on not only in the States but in the world?
Graceman: I did what I could when it came to promoting the album, but in these crazy times, the album wasn’t what was most important. In the end, I’m just grateful to share my music at all. My hope is that the songs I release can help people in whatever they’re going through.

TrunkSpace: Your latest single “Slip (Frank Pole Remix)” was released last Friday. As a songwriter, what is the process like in choosing which songs will represent the album? Does it get to the point where you have to separate yourself emotionally from the songs when you call wrap on the production of an album?
Graceman: It can definitely be a challenge picking and choosing songs because for me, they’re all special. They all deserve extra love. This album was unique because I’d actually released 12 of the songs previously. I’d challenged myself at the beginning of 2019 to release a song and a video every month for that year. I knew I wanted to release them all together on an album and thought I might even wanna add a couple extra songs. I added two, “Slip” and “Night Follows”. Because those two songs were more recent, I felt I should push them and create new ways of sharing them. The other 12 songs on the album had their time to shine when they were released as singles.

TrunkSpace: If someone sat down to listen to The Way The Night Behaves front to back, what would they learn about you both as an artist and as a person?
Graceman: I have a connection with every song and I feel my emotions very deeply. The experiences I have, no matter if they’re good or bad, fuel my creativity. I’m so grateful to have discovered music at an early age. It helps me focus and direct my feelings with intention. I always try to channel personal experiences into my songs. I’m vulnerable and it allows me to work through things. Music is a therapy for me.

TrunkSpace: Normally you would tour to support a new album, but that is not something that is possible in every state right now. How much are you itching to get back on a stage and in front of a crowd?
Graceman: Being on stage and performing for people is such a unique experience. Unfortunately, touring isn’t an option for most artists at this time. I’m grateful to have the option to do virtual live shows. It’s obviously not the same as performing in person but there are positives to it. Doing a virtual live show allows me to reach people in places I’ve never performed before. People who have wanted to see a live show of mine can now see one!

TrunkSpace: What do you get from performing live that you can’t achieve in the studio? Does one offer something unique to your creative brain that the other doesn’t, and vice versa?
Graceman: There’s an amazing energy that comes from performing live. It’s hard to describe. I usually get nervous before shows but once I’m up there singing and playing, I’m totally at ease. It’s so much fun! There’s a tangible feeling in the room when you’re at a live show. Whether you’re the performer or someone in the audience.

TrunkSpace: Your song “Miracle” will be used to help promote the 2021 Tokyo Olympics. Is it even possible to fathom just how many people may hear the song given how big of an event the Olympics are all over the world? What are you expectations for how something like that might impact your career as a whole?
Graceman: It still hasn’t really sunk in yet! It’s such an incredible opportunity. The Olympics are a worldwide event. Having Bebe Rexha cut “Miracle” is a dream come true. To on top of that, know people all over the world will be listening to and singing a song I wrote, is insane!

TrunkSpace: What has been the biggest highlight of your career thus far and why?
Graceman: There are so many highlights that it’s hard to pick one! Meeting and working with writers/artists I admire is always special though. Writing with Shane McAnally was an incredible experience. He is so talented and kind. It was such an honor to sit with him and write.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Graceman: I’m not sure that I’d want to. This musical journey of mine has taken so many positive and unexpected turns. I’m happy taking it day by day, enjoying every moment I get to do what I love.

“Slip (Frank Pole Remix)” is available now. 

Song Title: name & place

Single Sentence Singles Review: If we were coming of age all over again, we would imagine it would sound a lot like this whimsical lo-fi single, which is the dog days of summer translated into song and then amplified for the purpose of creating memories.

Beyond The Track: Hailing from Ottawa, dad sports just signed to Grand Jury Music, an independent record label out of New York.

Definite it however you want, but the music that The Atomic Bitchwax makes is pure metal and it always has been since they first started churning out tunes together back in the mid 1990s. With their latest album Scorpio (pictured left) due to drop on August 28 via Tee Pee Records, the trio from Long Branch, New Jersey is happy to still be rocking after all these years.

“I’m thankful for being fortunate enough to be able to create music on soooo many levels,” said drummer Bob Pantella in an exclusive interview with TrunkSpace. “I’ll be at it until I die.”

We recently sat down with Pantella to discuss the sub-genre debate, why fans need to get used to the band supporting THIS album, and what one hour on stage can make him forget all about.

TrunkSpace: There are so many genres and sub-genres to music these days that it makes your head spin just trying to get a handle on what bands are describing themselves as, but with The Atomic Bitchwax, what we hear is just some straight forward in-your-face rock. When you look at where you started in 1992 to where you are today on the eve of Scorpio releasing, where do you hear the biggest differences musically? What has changed for the band creatively in that time span?
Pantella: Yeah, I know what you mean with all the different genres. I lost track of all the sub-genres years ago. To me it’s all “Metal,” which is a sub-genre in itself of “Hard Rock,” which is a sub-genre of “Rock,” which is a sub-genre of “Rock and Roll.” That’s enough sub-genres for me.

I don’t think that if a band has an original sound or a unique “look” that it should automatically be considered its own genre. On the creativity side of things, we’ve probably mutated due to member changes through the years but overall I think we still get turned by the same music we did when we were 15. We all pretty much grew up in the same circumstances with the same influences, generally speaking of course.

TrunkSpace: Scorpio is due to drop August 28. What kind of emotions do you juggle with when releasing new material to the masses, and is the experience different this time around given that the entire world, essentially, has ground to a halt?
Pantella: What can I say that hasn’t been said already a billion times… it’s great to be able to release new material but without being able to properly promote Scorpio, it really feels like pissing in the wind. We put a lot of time and effort into this album. If and when it comes time to be able to tour again next year or the year after, I know exactly what’s gonna happen… “YOU GUYS NEED A NEW ALBUM,” at which point I’m gonna lose my shit! This IS the new album and it’s going to be for a while! After we tour it properly and give it its due, then we’ll record another record.

TrunkSpace: So how has promoting the album changed? How do you get the word out when people can’t get out themselves?
Pantella: Well, I think I answered most of that in the last question but one way is videos, LOTS of videos. We’re not doing live streaming or drive-in concerts. None of that bullshit. We’d rather wait until we can do it the right way… and there’s only ONE right way. You know it and I know it…

TrunkSpace: If someone sat down and listened to Scorpio front to back, what would they learn about you guys and where you’re as a band and as songwriters in 2020?
Pantella: HA!!! If you like to get really high and drive really fast, you’ll love this record… but don’t get really high and don’t drive really fast. Nah, I’m only joking… definitely get really fucking high and drive really fucking fast!!

TrunkSpace: Outside of the music itself, what did you want to accomplish with the production on Scorpio that perhaps you were unable to achieve on earlier releases? Did you accomplish your vision for the album as a whole when you called wrap on the process?
Pantella: You start with a vision, you get REALLY close, then you veer off track a little and then it’s time to put it down.

As Bowie once said, “You never really finish an album, you just abandon it.”

TrunkSpace: What are you most proud of with the album?
Pantella: There’s really not one thing in particular, it’s more about the process of recording and mixing it in general. As much as I love playing live, I really love recording. It really puts your skills as a musician in the hot seat.

TrunkSpace: You guys have been at it – writing, recording and touring – together since the early ‘90s. What has kept the creative gears turning and was there ever a point where you’ve considered walking away or is music something that you need in your life more than something you want in your life?
Pantella: I think about walking away from it every time I get the mail! (Laughter) BUT, it’s like a drug or the most amazing pussy you’ve ever had, times a billion! I’m thankful for being fortunate enough to be able to create music on soooo many levels. I’ll be at it until I die.

TrunkSpace: When the dust clears and you guys are able to hit the road again… are there still firsts waiting for you out there after performing over 1,500 shows around the globe? Outside of the creative, how do you keep the mechanics of a working band fresh?
Pantella: That one hour on stage and the energy you get back from it – in front actual people – makes the bad food, long drives, shitty motels, long drives, little to no money, long drives, no sleep and long drives totally and unequivocally worth it! Nothing better!

TrunkSpace: What has been the highlight of your career thus far?
Pantella: The end of every long drive!

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Pantella: Hell fucking no! I’m very happy where I’m at. A lot can happen in 10 years, good or bad. Right now I can still perform and record. I still have most of my hearing, I still have my hair, and thank the gods above I can still get a raging hard-on for music!

Scorpio is available this Friday from Tee Pee Records.