Greetings readers! For this week's interview we are joined by Crack-Rock indie-band "White Bronco." They've just released a killer EP titled "White Bronco Lives" and were kind enough to spend some of their day talking. They're full of snark, but well worth the read!
MW: White Bronco, thanks so much for giving us some of your time!
WB: Time... Is never time at all... You can never ever leave without leaving a piece of youth... Thanks.
MW: Well you certainly win the award for most colorful off-the-hook intro...
WB: We try to start off all interviews with lyrics from the genius entity that is Billy Corgan.
MW: Who can argue with that logic? So, first off – I’d like for each of you to introduce yourselves and say what your role is within the entity that is White Bronco
WB: I’m Clark, I play bass/sing and occasionally expose myself when the moment feels right. Gus plays lead guitar and hasn’t been the same since ‘Nam. J-Money-Ca$h also plays guitar and likes to stalk Disney channel celebrities and Tantrum plays drums, and can only let him out of the dungeon during lunar eclipses.
MW: I read on your website that the name came from OJ Simpson’s vehicle that was used to evade police after Nicole Simpson was murdered. Do you think that story still has some captivating powers 20 years after the fact?
WB: First off, we can’t even be really sure that any of those events even took place. When media conglomerates get together and decide to pin an innocent, successful black man of a crime with an invented motive and lackluster evidence, we as a society always need to be skeptical and post two-hour long YouTube videos exposing the truths of the secret societies that truly run the world. Was Nicole Simpson a real person? Was OJ even driving this supposed “White Bronco?” These are questions we need to answer now, and not worry about the other frivolous media creations such as Ebola and ISIS.
MW: I get the feeling you’re not taking me seriously
WB: That’s just how I feel bruh, and besides, seriousness is the path for the mundane, which we feel is an issue that’s extremely universal in our generation of cleavage selfies and ABC sitcom quoting statuses.
MW: I’ve been listening to “White Bronco Lives” – your newest release – pretty much all week now. One thing that really captivates me is the spacey quality and almost futuristic texture of the music, especially on tracks like “Pretty Pixxxles.” Is that a sound you worked towards, or am I completely off?
WB: You’re so on you’re turning me on... When you take peyote in the studio, music sort of seems to perspiration out of you without even realizing it. We essentially woke up the next morning and listened to what we created, without having any recollection of recording it. Luckily it turned out to our liking, and the result was a spacey future rocking ode to pornography and self-indulgence.
MW: How do you handle the songwriting as a band? Is it primarily one of you, or do you have a more democratic approach?
WB: Gus is sort of, I guess what you’d call the leader of the band. He’s abusive, verbally and physically, and if one of us dislikes his songs, we’ll definitely receive a few lashings. But through Gus’s torment and sadism, it really drives us to work better at perfecting our craft, because we know the unfortunate consequences if we don’t deliver.
MW: Gus actually beats you?
WB: I actually shouldn’t be discussing this publicly, or else Gus might find out… Next question.
MW: So, full-disclosure, I had no idea what “crack rock” was prior to doing my research for this interview, thankfully we live in a world where “urban dictionary” exists. I thought we could save people the internet search and you could explain for our readers.
WB: Well, crack rock as a genre is sort of like smoking crack in itself. It’s disorientated, with limited ambitions, but true desires will be obtained through any cost. When we play our crack rock music, we want the audience to wake up homeless, with strangers and uncertain of their future, because structure is the blueprint for non-consensual servitude.
MW: Of course, it takes some degree of ambition to put out an album.
WB: Absolutely. We, like many citizens in the world, are forced to adhere to the realms of reality by grinding our lives away to the administrators of corporate fascism, in hopes of receiving subtle financial compensation that may eventually aid us in purchasing items that have no existential impact on the universe. This album was an attempt for us to temporarily escape the limited boundaries of this productivity paradox society we live in, and while ambition put forth toward publicly traded companies is wasted labor, the energy we gave to this project helped us see that true enlightenment can only be obtained through power chords, flanger pedals and Backpage groupies.
MW: As an album “White Bronco Lives” has a staggering amount of cohesion and energy – can you describe what the studio process was like?
WB: Besides the excessive amounts of peyote, there definitely was a lot of turmoil behind the scenes of this record. Between my own personal battles with Tinder, Tantrum being exposed to light, J-Money-Ca$h’s alleged manslaughter conviction and Gus’s four-year-old son showing up, it was somewhat difficult to put all these distractions behind us and focus on creating seductive crack rock music. Our producer Barrett really helped us through denouncing our demons and supplying us with more peyote.
MW: ...feeling a sarcastic vibe... I’m gonna go out on a limb and say that you are first and foremost a live band, am I right?
WB: Mos def homez. For starters, let’s just say that if I personally couldn't play a live show at least a few times a month, the Chicago murder rate would rise exactly .02%. Performing is in our blood, mainly because of the blood oath we gave in Somalia back in ‘94, which also resulted in an on-going hepatitis scare. We give it our all on stage, and we expect cheap handys and cereal necklaces in return.
MW: Any wild stories from the live scene?
WB: One time Tantrum bit a bouncer’s face before the show, and we were told we had to leave the premises immediately. Well we really wanted to play the show, so instead of doing what these pricks told us, we lured another opening band into an alley, decapitated their limbs, stole their clothes and gear and performed as them. If anyone asks us about our whereabouts the evening of September 13th, 2013, our manager Joseph Peckinpah will testify in court that we were at his apartment that night and we have no information on the whereabouts of the members of Ted Danson With Wolves.
MW: It’s a classic story – the opening band died for your sins?
WB: Sacrifices must be made in order for the prophecy of WHITE BRONCO to flourish.
MW: What’s on the horizon for you guys?
WB: Peyote, ethanol and obese Indian women.
MW: White Bronco, thanks so much for giving us some of your time!
WB: Time... Is never time at all... You can never ever leave without leaving a piece of youth... Thanks.
MW: Well you certainly win the award for most colorful off-the-hook intro...
WB: We try to start off all interviews with lyrics from the genius entity that is Billy Corgan.
MW: Who can argue with that logic? So, first off – I’d like for each of you to introduce yourselves and say what your role is within the entity that is White Bronco
WB: I’m Clark, I play bass/sing and occasionally expose myself when the moment feels right. Gus plays lead guitar and hasn’t been the same since ‘Nam. J-Money-Ca$h also plays guitar and likes to stalk Disney channel celebrities and Tantrum plays drums, and can only let him out of the dungeon during lunar eclipses.
MW: I read on your website that the name came from OJ Simpson’s vehicle that was used to evade police after Nicole Simpson was murdered. Do you think that story still has some captivating powers 20 years after the fact?
WB: First off, we can’t even be really sure that any of those events even took place. When media conglomerates get together and decide to pin an innocent, successful black man of a crime with an invented motive and lackluster evidence, we as a society always need to be skeptical and post two-hour long YouTube videos exposing the truths of the secret societies that truly run the world. Was Nicole Simpson a real person? Was OJ even driving this supposed “White Bronco?” These are questions we need to answer now, and not worry about the other frivolous media creations such as Ebola and ISIS.
MW: I get the feeling you’re not taking me seriously
WB: That’s just how I feel bruh, and besides, seriousness is the path for the mundane, which we feel is an issue that’s extremely universal in our generation of cleavage selfies and ABC sitcom quoting statuses.
MW: I’ve been listening to “White Bronco Lives” – your newest release – pretty much all week now. One thing that really captivates me is the spacey quality and almost futuristic texture of the music, especially on tracks like “Pretty Pixxxles.” Is that a sound you worked towards, or am I completely off?
WB: You’re so on you’re turning me on... When you take peyote in the studio, music sort of seems to perspiration out of you without even realizing it. We essentially woke up the next morning and listened to what we created, without having any recollection of recording it. Luckily it turned out to our liking, and the result was a spacey future rocking ode to pornography and self-indulgence.
MW: How do you handle the songwriting as a band? Is it primarily one of you, or do you have a more democratic approach?
WB: Gus is sort of, I guess what you’d call the leader of the band. He’s abusive, verbally and physically, and if one of us dislikes his songs, we’ll definitely receive a few lashings. But through Gus’s torment and sadism, it really drives us to work better at perfecting our craft, because we know the unfortunate consequences if we don’t deliver.
MW: Gus actually beats you?
WB: I actually shouldn’t be discussing this publicly, or else Gus might find out… Next question.
MW: So, full-disclosure, I had no idea what “crack rock” was prior to doing my research for this interview, thankfully we live in a world where “urban dictionary” exists. I thought we could save people the internet search and you could explain for our readers.
WB: Well, crack rock as a genre is sort of like smoking crack in itself. It’s disorientated, with limited ambitions, but true desires will be obtained through any cost. When we play our crack rock music, we want the audience to wake up homeless, with strangers and uncertain of their future, because structure is the blueprint for non-consensual servitude.
MW: Of course, it takes some degree of ambition to put out an album.
WB: Absolutely. We, like many citizens in the world, are forced to adhere to the realms of reality by grinding our lives away to the administrators of corporate fascism, in hopes of receiving subtle financial compensation that may eventually aid us in purchasing items that have no existential impact on the universe. This album was an attempt for us to temporarily escape the limited boundaries of this productivity paradox society we live in, and while ambition put forth toward publicly traded companies is wasted labor, the energy we gave to this project helped us see that true enlightenment can only be obtained through power chords, flanger pedals and Backpage groupies.
MW: As an album “White Bronco Lives” has a staggering amount of cohesion and energy – can you describe what the studio process was like?
WB: Besides the excessive amounts of peyote, there definitely was a lot of turmoil behind the scenes of this record. Between my own personal battles with Tinder, Tantrum being exposed to light, J-Money-Ca$h’s alleged manslaughter conviction and Gus’s four-year-old son showing up, it was somewhat difficult to put all these distractions behind us and focus on creating seductive crack rock music. Our producer Barrett really helped us through denouncing our demons and supplying us with more peyote.
MW: ...feeling a sarcastic vibe... I’m gonna go out on a limb and say that you are first and foremost a live band, am I right?
WB: Mos def homez. For starters, let’s just say that if I personally couldn't play a live show at least a few times a month, the Chicago murder rate would rise exactly .02%. Performing is in our blood, mainly because of the blood oath we gave in Somalia back in ‘94, which also resulted in an on-going hepatitis scare. We give it our all on stage, and we expect cheap handys and cereal necklaces in return.
MW: Any wild stories from the live scene?
WB: One time Tantrum bit a bouncer’s face before the show, and we were told we had to leave the premises immediately. Well we really wanted to play the show, so instead of doing what these pricks told us, we lured another opening band into an alley, decapitated their limbs, stole their clothes and gear and performed as them. If anyone asks us about our whereabouts the evening of September 13th, 2013, our manager Joseph Peckinpah will testify in court that we were at his apartment that night and we have no information on the whereabouts of the members of Ted Danson With Wolves.
MW: It’s a classic story – the opening band died for your sins?
WB: Sacrifices must be made in order for the prophecy of WHITE BRONCO to flourish.
MW: What’s on the horizon for you guys?
WB: Peyote, ethanol and obese Indian women.
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