Super Famicom split with Noah Eagle

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In the summer of 2011, Noah and I had been housemates for a year. He's one of my best pals, and I've always intended to support his musical endeavors. I don't know whose idea it was to do a split, but I was down. In fact, I needed to be doing more splits. At the time I was doing a lot of loud singing and loud screaming, and felt like I had a strong voice. Half my tracks on this are serious, and done with acoustic guitar. The others are weird and heavy, including a powerviolence song about my friend Garrett Oliver getting his drivers license. Justine did the cover art.

The Bottom by Super Famicom

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This is Super Famicom's punk album, and I was sick of everyone's crap. I 2011, I'd been living on the bottom for a good four years. I wrote some songs that I thought were funny, at the expense of a world I didn't like. It seemed like a lot of punks liked this album, and thought it was cool. It felt pretty neat while it lasted. You may have noticed how this album has two covers, one is on the far right of the above image. I don't know why I haven't used two covers for an album in the future, since I thought it was pretty cool, to do one just as a Fuck You to whomever isn't punk enough for me.

Stiff Bindles Demo

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This is a weird cd I played on. Stiff Bindles was my favorite local band, and their members were my best friends. In 2010, they went on tour with The GAZE. For a while, I was borrowing a broken four track recorder from my friend Nick. It was the kind that let you record on four separate tracks at the same time, which was a huge plus. However, I only had two functioning microphones. So we recorded this with two mics. The band wasn't getting along with their bass player, so I played bass on it. I don't remember what bass it was, but I know it sounded pretty bad. It was really cool that they let me do the art, though. Later they made a tape that sounds better than this, and the only art on it was their band logo, and I still get ideas for album arts they could have had if only they'd asked me.

Whatever by The GAZE

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In 2010, the Winslows stopped playing together, and I pondered the idea of starting another pop punk band. I had song ideas that were riff-oriented, and wouldn't work with other groups I was playing in. Jaclyn moved to town from chicago and came by, at the advice of her boyfriend Josh. She'd heard I was the guy to talk to if she wanted to play in a local band. So we jammed, and she played really fast, and it was awesome. We got Garrett to play bass. I wanted to write songs that were really dark, while also being poppy. For months, I wore gym shorts, and the Gaze practiced like every day. I thought we were going to get huge, but eventually Jaclyn moved back to Chicago and I got busy with other stuff. These songs were recorded and mixed on Wilson's laptop, with cubase. I always wanted to try to do a better mix, with more familiar software, or at least get it less 'loud'. We also always played the songs more fast than good. I guess there's something admirable about that.

The Diamond Rainbow by Super Famicom

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For most of the writing and recording of this album, I didn't have a working computer, countered with an excess of heavy music ideas. Some might say this album would have had more appeal, had it had less songs, and less songs that don't sound like the last eighty songs I'd recorded and released. Songwriters evolve, and that evolution happens within shorter time frames when you write as much as I. Too bad it took me so long to get good at drums, but what can you do? I didn't want anyone else playing on my album and trying to tell me how my songs should be played. The original tapes I put this release on were found in the dumpster of a thrift store. So punk. 

The Winslows 2009 Tour Demo

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The Winslows went on tour for a whole month, in two thousand nine. Before this tour, the only band tour I'd been on was with Lori Ann. We had a band fund, and a budget for eating meals on the road. We didn't have that with the Winslows, and I don't know what I expected. For those of you who don't know, being on tour with no money can be really bad for your self-respect. And for the sake of the team, and being fair, I kept going on band tours with no money. In fact, I owed it to the bands who were constantly helping me out a little bit with food, and what not. I owed more than my life was (fiscally) worth. On solo tours, I could at least sell a few cds and feed myself. With a band tour, it's often frowned upon to push your solo music onto people, making money for yourself instead of on behalf of your band of best friends. So I learned a few things on the Winslows tour.

As a band, we'd been finding our sound. The tour cd isn't 100% sick, but I think it's a definite step up from our tape. And I started to get an idea of what flavor of pop punk I wanted to make in the future.

Perilous by Super Famicom

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Following 2008's Wandering Floret Octology, it seemed prudent to make an especially great album, especially since I didn't have any deadlines. I could have spent the entire year doing nothing but writing my album, which is what I picture people doing when they say they spent an entire year on their album. It's not like they were going to work, or forming relationships. I, for one, had moved onto my back porch because the back porch so someone could rent my bedroom, then everyone at the house (especially me) could live more cheaply and more punkly. Musically, the Perilous album isn't much of a departure from what I was doing on the Wandering Florets. I got ghosted by the label that was supopsed to put out the cd... ghosted over a cd-r. Either way, I released it myself and then made some tapes.

The Winslows - Didn't Do That

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You probably wondering how, with no money, I was able to escape my hometown and move to Saint Augustine, a place I'd never been to before. Well, I was invited by my friend Evan who wanted to start a pop punk band with me. It seemed like a fine thing to do, especially since a lot of the solo shows people booked for me were not actually shows. They were just parties, and I was expected to beg people to watch me play and buy my cds. And I was duped into being the meme of the guy at the party with a guitar. With a band, you might expect the show to have a p.a. system, assuring you that you are indeed playing a show, and if not, your band will be loud enough to force people to pay attention. It all sounded good. So we got Matt Pius, the coolest guy in town, and taught him to play bass. At the time, I wasn't listening to much music that was punk or pop punk. I thought most of it was too bland, or bro-ish. Also, I didn't know what to write songs about that might represent the band as a group. None of these things mattered. We were the new band in town, and we were having fun, and everyone was having fun. The exported mix of this album doesn't sound like it did when I was mixing it in Sonor. The vocals came out way too loud, and it's too late to fix it. It was probably for the best, because after all, the vocals are usually really loud in popular music.

There was also a new label in town, The People's Republic of Rock and Roll, which our friend Jacob was running. Even though it was a tape and not a record, we were tapelabelmates with bands like The Fleshies, Underground Railroad to Candyland, Alligator, Tubers, Brainworms, and Future Virgins. So it was all pretty exciting for us and the kids who raged at our shows.