Artist Interview: The 30's

Alright Punk fans, for this week's interview we have The 30's

MW: Thanks so much for being here.

Panda:  Thanks for having us!  Katerina:  Yes, we're stoked to be able to do our first interview.

MW: I'm mostly curious about your new EP, but before we get into that, can you tell the readers how you met?

Katerina:  It's definitely the most millennial answer ever, haha!  "We met online!"  Panda: Haha, it's true! I had joined a bunch of "elder emo" and pop-punk meme and nostalgia groups on Facebook, and Katerina posted in one of them that she was a session vocalist.  It just so happened that I written an instrumental that was screaming out for some vocals to be added to it, so I message her with a rough mp3 of the track and asked if she'd be interested in collaborating with her vocals.  Katerina:  Yeah, social media does a lot of bad.  But it's been cool to have this "scene" be kept so global.  I had been doing some session work locally already, but I wanted to expand my side-gig/hobby.  So I posted to a bunch of music groups on Facebook to see who would bite!  When Panda message with the instrumental, I jumped at the chance to work on it!  I came back the next day with a draft recording.  After another day or two of sending drafts back and forth, we had "Senseless" our first track together!  Panda: and it's still our most successful. 

MW: What was life like before venturing into "The 30's?"

Katerina:  Well I'm still an educator full-time... for now at least, haha. But you never know!  I ahd been doing music as my side gig for awhile, but this is the first time I've something that I can say is my own!  It's been really liberating to be able to sing AND create.  Panda:  The 30s helps me stay sane haha!  I was making music before, but it mostly stayed in bedroom.  I thought I left my band days back in high school.  Public Defenders need healthy outlets, and I have that with The 30s!

MW: Let's talk about the song/video for "Justice partners," can you tell us how that one came about?

Panda: Politicians, judges, and prosecutors have always been screwing over the rest of us.  I feel like whatever veil still existed was fully removed during the pandemic.  Katerina:  It was one heinous act after another.  People could barely go outside, but somehow they still found ways to be evil.  Panda:  Working as a public defender means I fight that shit, but I fight it within the system. I have to stand next to some of these evil assholes and be polite with them.  Writing Justice Partners was me stopping the politeness and calling it like I see it!

MW: There's a strong social message in the lyrics - would you say that most of your tunes reflect a similar sentiment?

Katerina: Not explicitly.  Punk, and all its offshoots, is inherently political music.  But Justice Partners is the most explicit we've gotten so far haha!  I wrote a track for our debut album called 'Still Drinking' that had a similar vibe, but Justice Partners delivers the message a little more raw. 

MW: I'm curious about the division of labor, can you describe who does what as far as the creative/performance process goes?

Katerina:  it's pretty much 50/50 between instrumentation and vocals, with me handling the latter. Panda will send me a track without vocals, and I'll lay down some vocal lines.  We send each other notes back and forth with edits and changes sometimes, but usually it just clicks right away!

MW: How would you describe your music for someone who hasn't heard it before?

Katerina: We're somewhere between The Distillers and Paramore. Panda: With a little bit of Sum 41 spunk thrown in, haha!

MW: Any major influences?

Katerina:  Haha, I guess I jumped the gun on my last answer.  But yeah, Brody and Halley are big influences for me. Panda: We're both big Hawthorne Heights fans, too.  Katerina: And Saosin!

MW: Is the new EP "Seasonal Depression" your first recording?

Panda: It's our first E.P. at least, haha!  But we released our first full album this past summer, May 2022.  Katerina: We're hoping to keep this pattern going for as long as possible, with a full album in the summer and a small EP in the winter. 

MW: What's next for you two?

Katerina: Hahaha, I keep doing it!  But yes, hopefully another full album this upcoming summer!

MW: Where can people find out more about your music?

Panda: Our website has it all!  The30sband.com   But we also love all of our fans on social media!  instagram.com/the30sband. 

MW: Thank you so much for doing this:

Katerina:  No thank you!  We've never done an interview before and we're honored to be here!

Jeff Lake & Cellophane Flowers - "Happy Xmas (War is Over)"

I remember being a lonely 20-something and putting together a playlist of sad-Christmas songs. So, it had Willie Nelson's "Pretty Paper," Murder City Devils "364 Days," and of course, "Happy Xmas (War is Over) by John Lenon. And even though I'm no longer that depressed quarter-aged gent, I still come back to those songs every season, which is why I was happy to come across Jeff Lake and Cellophane Flowers' version of the last on that list. 

What can I say? It's a beloved song, so only those with the best of vocal chops should attempt it - and Mr. Lake delivers in spades. His upper register is exactly what this tune demands - I dare say, and don't crucify me here, that he sings it better than Lenon himself. The orchestration is top-notch. Overall it's a great take on a classic tune and it should definitely make the rounds in your Christmas music lineup. 

Mark Newman "At the Border"

When we think about the subject of "border" in our current political climate a bunch of issues pop up, especially those highlighted in the news. When you think about it though - the word can have a lot of meanings both literal and metaphorical. In its essence, a "border" is a boundary between two things, and I the concept is explored wonderfully by Mark Newman in his new song titled, incidentally, "At the Border.

The song has a deep and folky vibe - the low percussion almost has a cinematic quality and the addition of what sounds like a 12-string rhythm guitar really fills out the arrangement. The chorus then erupts into an anthem of "At the border, we can be free!" and it sounds like musically coming home. It is a long track, clocking in at about 6 minutes, but it's well worth the time. Check out Mark Newman's Spotify here. 

Alessi Brothers "Dreams Come True"

 Something about a slide guitar will always make my heart glad, even if it's a sad song. So I knew instantly when I started listening to "Dreams Come True" by Alessi Brothers, I was going to be a fan. The song is aptly named as it features heavily delayed vocals that pan from left to right. There is an overall country vibe in the instrumentation but this is offset by the very post-rock vocals. The cumulative effect is, well, dreamy. 

Dreams come true belongs to the album Eden Roc, a thirteen-track LP released just this year by the duo. It's well worth the listen  as it runs the gambit from songs like the aforementioned track, but also the largely instrumentally/orchestrally driven "Suite" as well as the fairly folky "Little Wings." You can listen to all of these on the Alessi Brothers' Spotify page here. 

The Immaculate Crows "Business Girl"

Here's a fun little gem from Australia, "Business Girl" by The Immaculate Crows (great band name BTW) is a quirky upbeat tune about facing life in a cubicle. The song opens with what I can only assume is a melodica, accompanied by a chugging guitar-driven 1960's-esque pop beat. There's a fair amount of nostalgia sound to this one, which will always get high marks from me. I also really enjoy that a fairly mundane, and sometimes dreary subject matter can be so wonderfully juxtaposed to the mood of the song and the instrumentation. 

Have a listen to "Business Girl" on Spotify here.