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Westerman is Your Lifeline
Hello! What's up? How are you?
I'm okay. I'm just sat on the porch of this house in Seattle. We just played a radio session this morning.
I'm sitting on a porch in New York right now.
Oh, no way.
Yeah! So I listened to your latest project An Inbuilt Fault and I have to ask, are you okay?
I'm okay. I think there's a lot of different feelings involved in the record but I suppose some of them are dreary. It comes from a quite disturbing time which was the collective experience of Covid and I wanted to engage with that.
The process of making the records has definitely helped dispel a lot of those feelings of alienation and isolation.
For sure, I also called the number on your Instagram at 1570533lens and got a message in return. What's that about?
Which message did you listen to? They change.
The one about hanging in there and accepting your feelings.
Yeah, that sounds about right. I must confess, I usually do these kind of things on the fly and try not to think about them too much, but that does sound like something I might have said.
The reason why I was inspired to make music was because it meant so much to me when I was growing up in terms of a lifeline in difficult periods of time. I wanted to do that for somebody else.
If you could time travel to any era in music history, when would it be and why?
Oh, that's a really good question. I think I’d like to be in the late 1970s during the time period where techno and electronic technology was developing at an incredible pace.
I think that's still happening now, but I'm interested in the novelty of that being a new thing, the emergence of computers as a tool to manipulate sound.
I saw that your album cover was inspired by an AI image? What's your take on musicians using AI?
Ultimately, there’s nothing inherently good or bad about any form of technology. It’s inevitable that the human mind reaches for new planes. I think for creative thinkers, AI will just be another tool and it’ll lead to fantastic music which wouldn't have been possible without it. But, I also think it will lead to a lot of very lazy music too.
Your album before this was titled Your Hero Is Not Dead? Do you have a hero?
Oh. Who are my heroes? Currently, I don’t have any. I think that the whole kind of nature of heroic characters is based on projection. I wanted to interrogate what that means and show that these qualities and traits are accessible within ourselves if we look for them. In terms of my heroes, musically speaking, I have a lot of people who's music I like. I like Joni Mitchell's music a lot, but I don't know if she's my hero. It's a hard one. Sorry, my mind goes a bit blank. It's like asking someone what's your favorite film.
As a fellow Joni Mitchell fan, I'm curious. What's your favorite song of hers?
There's so many. I think the song that I probably listened to the most over the last few years is called “The Magdalene Laundries” which is an incredibly sad song, but it's full of compassion.
It's sad in the right way. What's your favorite Joni Mitchell song?
I'd say my favorite is “Both Sides Now”. How would you say your sound has evolved since Call And Response?
I think that there's a larger scale of ideas that have opened up since I’ve learned how to arrange a bit more by myself. I have more clarity of thought through focusing on things other than just the lyrics and melody.
This record breathes more, it was mostly recorded with live takes and it’s less sculpted. It’s a lot more of an alive and amorphous thing.
What was it like collaborating with Luke Temple and James Krivchenia on this album?
It was great. Yeah, Luke's one of the players on the record and there were some other fantastic players. How it kind of came about was that I'd met James before the pandemic. I knew when I was demoing this record that I really wanted to have life and passion be central elements in it. A friend of mine floated the idea of working with James. So we started talking on Zoom and just trying to feel out whether or not there was something to be made. I just kind of took the plunge.
I made the record in LA, playing with all of these people who I didn't know at all. It felt like a good way of breaking out of the kind of solipsism that came with the writing process. We smashed the songs open and let people interpret and feel it, they added things I never would have thought about.
How did you choose the visuals for the album?
I was working with this visual artist called Edwin Burdis. I struggle with music videos, I often find them superfluous. I didn't really want to make them, but then I started talking with Edwin and he was telling me about his new process.
So basically, I just sent a lot of footage, footage that I had made and found footage. Between the two of us we kind of collaboratively started putting these things through algorithms and then editing them ourselves into a sort of collage thing. I think of it as an accompaniment really.
It honestly has amazing song titles. How did you come up with them?
I don't know. I find song titles quite difficult. Sometimes they kind of present themselves immediately. Sometimes there's an obvious word or line in the song which stands out and then you think, oh, that's easy.
And then other times there isn't one. Sometimes there's things which make me laugh. I kind of try and leave it to the unconscious.
What was your favorite part of working on the project?
It sounds kind of absurd but my favorite part was just the fact that I was making something again because I hadn't made anything for quite a long time. I love the feeling of an idea starting to form and then you have these kind of disparate pieces that start to reveal themselves.
My favorite part is the process of sitting down and letting your imagination go where it will go.
After being away for so long due to the pandemic, what has it been like touring North America?
It's been fantastic. I feel really lucky. I mean, we haven't been here for four years. I really didn't have any expectations. I just wanted to try and make sure that I enjoy it and feel the gratitude of being able to be here.
We put a record out during the pandemic and never played it. So, playing those songs as well as the new record has been wonderful, hearing the kind of stories that people have with the music. It makes it much easier for me to connect knowing that we all went through this massive thing together.
How has music impacted your life and what do you hope your music does for others?
Well, I think, generally speaking, it's had a positive impact on my life. I'm, I'm sat here in this beautiful place surrounded by this kind of blooming nature, thousands of miles away from where I come from. And this is all because of music. The reason why I was inspired to make music was because it meant so much to me when I was growing up in terms of a lifeline in difficult periods of time. I wanted to do that for somebody else.
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Deem Spencer Says What He Wants to Say
How are you doing today?
I'm alright man. I'm at the park right now. How you doing?
I'm doing good. I can’t really complain.
Nice. Nice.
What did your first song sound like?
My first time recording music, it was the mixtape era. I either rapped on “BMF” by Rick Ross or “Black and Yellow” by Wiz Khalifa.
What excites you the most about making music?
The most exciting part for me is that it's an opportunity to be the main character for a second. I get to really get my shit off, you know what I mean?
I really get to say what I wanna say, uncontested for however long the song is over a cool beat which makes it all the more validating.
DEEM WEARS: SUIT: MARNI, SHOES: LOUIS VUITTON, JEWELRY: MARTINE ALI
What's been your best experience performing so far?
It's hard to choose just one but, I love a big stage. There's one in Brooklyn that still holds like 1200 or something. I say, the more people, the better.I feed off the energy.
What’s the hardest beat that you’ve rapped on?
There's this song on my project We Think We Alone and it's the intro. It took me a long time to write but it's one of my most popular songs now. My guy Pip produced that and he's a classically trained musician. He had this idea for me to rap over violin since no rapper ever did classical before. We made some groundbreaking shit.
What's your favorite bar you've ever written?
This message isn’t for hope. This is gone hurt. If it don’t, then it don’t work. The definition of broke is it don’t work.
I know with this last project adultSW!M, you included more people in the process. How can you tell when creative feedback is helpful versus not helpful?
I think the only creative feedback that isn't helpful is when someone’s being selfish and offering a one sided suggestion. As an artist, I've run into creative walls and ceilings by only focusing on my opinion.
I like to listen to everybody. I think every perspective is worth considering or most perspectives are worth considering in my process. So I like to listen to my friends and team.
How do you overcome those creative walls?
I give myself a break when I clearly need one. Sometimes, I just need to step away from it and start working on something else.
One thing I find with collaboration is that the exhaustion comes a lot less frequently. I work better under pressure and that natural anxiety I feel from knowing that someone’s watching me create. So, when a collaborator is present, I tend to challenge myself more and come out with more impressive results.
ON LEFT: FULL LOOK: ALEXANDER MCQUEEN, ON RIGHT: JACKET: MARNI, TOP: ECKHAUS LATTA, PANTS: R13, SHOES: R13, JEWELRY: MARTINE ALI
You mentioned the idea of being the main character earlier. If adultSW!M was a TV show, what would the plot be?
I love that question. The plot would be a young artist going through an existential crisis while the world collapses.
Babylon is collapsing. Would that be animated or live action?
Let's say animated. Keep it fun. Also, you know, Adult Swim.
Would you voice your character?
Oh, absolutely.
Who would you want in the writer's room?
Myself, a bunch of comedians. My man Kevin Iso. I'm working on developing a TV series right now.
Like, that's my biggest goal at the moment. So I'm trying to speak it into the universe as many places as I can. I’ve been writing my ass off.
What’s your pilot about?
It's a comedy loosely based on myself and my personal journey trying to make a name for myself. There's no Jamaicans on TV and that's crazy because that seems so easy to do.
ON LEFT: TANK: TELFAR, SHORTS: TELFAR, BOOTS: R13, JEWELRY: MARTINE ALI, ON RIGHT: HAT: TALENT'S OWN, SHIRT: WILLY CHAVARRIA, PANTS: TELFAR, SHOES: TALENT'S OWN, JEWELRY: MARTINE ALI
Are you Jamaican?
Yeah, my family is from St. Elizabeth.
My family is from St. Elizabeth too. We’re probably cousins.
When I was five years old I lived out there for a year. A lot of my earliest memories are from Jamaica. I remember getting bit by a dog, being attacked by an ant hill, getting pinched by my teacher at school.
I know all these memories are kind of violent but it’s still beautiful. Everytime I’m around a certain smell and foliage, it brings me back to being five in Jamaica.
The ant hill thing is crazy, bro. I have a cousin that’s 6”6 and this man is terrified of ants to this day, he got bit by some red ants.
[Laughs] Yeah, they got me, man. But yeah, man I'm trying to tell a beautiful Jamaican American story and put that on television. I think I'm the right guy for it.
They don’t even cast Jamaicans, they’ll just put Method Man in a wig. I’m going to create that space for us and I know people will appreciate it.
Anything else that you’re working on right now?
I started a new album. I've been locked in. I'm trying to put out something soon because I'm very inspired. I don't know how soon it makes sense because adultSW!M just came out.
But yeah, I'm ready to go. I wanna keep going.
Girldick Puts on a Show
To kick off the event, Girldick performed “The Star-Spangled Banner (Taylor’s Verison).” Then came the humiliation games, which started an hour later than advertised because it was Pride and of course, the gays are always late. Eddie Baker’s signature wonky synthesizer and Chuck Roth’s slamming drums turned the National Anthem into Avant-Garde art as frontwoman Blair Broll declared, “I’m the proudest American. I served in the Army, Marines, what’s it called? Airforce.” It was the New York City-based band’s first performance in over five months, although the post-punk project has only existed for two. “We put out a song and play a show every six months,” Blair revealed to me early on in the night before discussing a hack for recording their future EP with bassist Mira Bosch.
Then the games began; joke contest, drawing contest, spitting contest, walking around with eggs in your ass contest, blindfolded fresh egg hunt, toe sucking contest, infamous cigarette race, and spaghetti wrestling. It was too loud to hear anything or understand the point system. However during the toe-sucking match (which has forever altered my life trajectory as it wasn’t amateur toe-sucking either), I overheard the only thing I needed to know that everyone else was as confused as I was: “How do you win?” “I think everyone wins,” “I think I’m winning.”
During halftime, Girldick came back for an abrasive, eerie three-song set. While setting up, Baker chugged beer and spat it out into the crowd. He continued his joker-type caricature with hops and flips. Broll threw her crumbled notebook pages to the audience and commanded them to scream alongside her. It was a high-energy, in-your-face performance rooted in the DIY attitude of fuck around and have fun. A perfect segway to the long-awaited final competition.
The two referees came out in an Italian chef’s hat and apron. They dumped about six jumbo cans of crushed tomatoes and bowls of cooked noodles into a kiddie pool, setting up the battlefield. A few finalists went against one another, either winning by pushing the opponent out of the pool or pinning them down for five seconds. These fights were intense. Bodies were thrown, headlocks happened, and one doll simply knocked a twink out in a matter of seconds. The crowd even got a twink and doll to kiss.
Unfortunately, neither of my favorite dolls won — the one who confessed to having her ex-boyfriend, current boyfriend, and therapist there supporting her yet also had four shirtless guys paint her name on themselves, nor the one who wore a BALL #2 jersey, and said, “I found this in the thrift store and it’s perfect because it represents two things I have: my urge to ball and my two balls.” But the dolls did win in the end. It was simultaneously unhinged and sentimental, an event by the community for the community, where everyone is friends with one another and supports each other in their nastiest endeavors. This is what Pride is all about after all. I just hope next year isn’t majority white people again.
