• (interviewee and interviewer in Ann Arbor, MI, 07/2019)

    #1. Tell me all you can remember about the very first show you ever played — where, when, with who, etc etc?

    Fred: This all started for me very early on, like age 12. So there were a bunch of desperate, embryonic non-shows for a few years. Playing in friend’s garages, playing outside of junior high school dances, setting up in the church basement and playing Nirvana songs for the youth group, etc. Pretty much as soon as I could confidently strike a few chords there were a bunch of songs and a strong desire to play them in front of people. I’d qualify my first true show as one that happened in November of 1992 at The Lab, an early Ann Arbor punk house. My band at the time was called Smudge, I was 15. We opened up for a band called Wool from D.C. who used to be called Scream. Scream broke up when their drummer, Dave Grohl quit to join Nirvana. So it was Wool, Smudge and one other band– Grout, and a six degrees of separation connection to Nirvana. Peak 1992.

    #2. Tell me all you can remember about the most recent show you’ve played?

    Fred: The last show I played was at Le Voyeur in Olympia, Washington on January 11th, 2025. Voyeur is a fully vegan diner-type restaurant with punk shows in the back, and the last time I played there was 25 years earlier. Very little had changed!!! In 2025, much like in 2000, it was an all ages, five band bill that had to be done by 10 pm to meet the all ages criteria. I played first, a quick solo set, and three other touring bands I liked a lot including Tom Henry and Sharp Pins from Chicago played in the middle before Lillian Maring, an Olympia person who’s had lots of incredible bands over the years, ended the night with a high art electronic solo set. Lillian’s dad was there and told me he really liked my lyrics.

    #2.5. What are some of your favorite shows you’ve ever played?

    Fred: The ones that stand out are the very special situations that only happened once. I sat in with my friend Dan Bennett’s jazz trio on electronics one night right before the pandemic started. It was a fully unrehearsed, late night show as part of the “out there” programming of a jazz club that’s usually a little more straight laced. I basically processed the sounds being made by these really accomplished, technically astonishing musicians. It was really beautiful and unlike any gig I’d had before, and it never happened again. There was also a solo show I played at Tone Deaf Records in Chicago that should have had like six people at it, but it turned into a relatively big crowd of friends I’d known for a long time who all converged. At that show I didn’t have any t-shirts for sale in the usual way, like no “FRED THOMAS” band shirts, so I sold a bunch of shirts I had of other bands instead as a joke. Like, Man is the Bastard and Slayer shirts were my merch. That was a happy, ridiculous memory.

    #3. to the best of your ability, can you name all the projects you’re currently involved in? Let’s set a rule that they have to have either played a show and/or recorded within the past 6 months.

    Fred: Hahaah.. I would be able to do this, but the point isn’t about being in a ton of bands. At some point I got really excited by the idea of approaching music with the same fluidity as I saw in jazz players. Growing up in and around bands, I had some unspoken rules in my mind about how things worked. You were in a band, that was your identity. Think about all the people in your phone whose real last names you don’t know, you just call them like Fred Hydropark or whatever. At some point I recognized that I was going to be playing and recording lots of different kinds of music with lots of different folks, and my mindset about my musical identity became less concrete. Having a lot of different projects doesn’t feel as serious to me as it might to some people, it’s just a different way of spending time with people I relate to.

    #4. Do you have an inner understanding of how you find the energy and creativity to keep as prolifically busy as you have for so long and continue to? Are there times it feels like more work/stress than enjoyment? Have you ever considered, however briefly, walking away from making music completely? if you somehow overnight lost the ability to make music here forward, can you imagine what the rest of your life may look like instead?

    Fred: In the same way that I try to approach different projects with fluidity, that’s how I look at finding energy and inspiration. My goal is to get to the point where making something beautiful is commonplace and non-remarkable. Like, you’d never ask someone where they found the energy to so prolifically eat food or where they pull from to wash their hands or drive to work as often as they do. Haha.. I’m trying to get it to the point where it’s a practice that’s second nature and still good, or at least still means something to me. There are definitely times when I lose sight of what parts are fun and everything gets lost in the logistics. Touring at 48 doesn’t feel super different to me than it did at 22, but I also don’t know if I’d feel good ONLY doing this type of work into the second half of my life, or however much of that I get. So yeah, there’s moments when I think about other options. It’s actually more unfathomable that I’m still doing this than not! What exactly it would look like, though, I have no idea. 

    #5. At the end of the day, do you believe you’re more creatively driven by the beauty or the ugly of this world? Can you name some specific examples that inspire your work? Do you have heroes or role models — artistically, morally, however you see fit?

    Fred: So much more so inspired by the beauty, of which there is much. Fighting against the ugliness and injustice of the world is a beautiful thing in itself, but it’s a weird line for me. I’ve seen so many who I thought were comrades who ultimately didn’t want better things, they just wanted to always have a chance to be fighting. I get it, that’s just not for me. I related more to having and needing heroes when I was younger, but it always ended up seeming arbitrary, like something I was supposed to feel. In dark days, I often return to the things that inspired me so much when I was just beginning to feel agency, touchstones of creativity. I don’t even know if I enjoy these things any more, as much as they’re foundational! Hahaha Listening to Albert Ayler or Joy Division or Void or reading books about the Black Panthers or the Situationists, watching Fantasia. Hahaha it’s almost meditative for me. Always feels like a kind of reset.

    #6. Can you remember the first piece of music you bought with your own money? How about the most recent?

    Fred: Oh man, it’s rough but I bought an Aerosmith cassette with my own money when I was ten or eleven. Permanent Vacation. I buy records pretty much every week, and the most recent ones I picked up were Lana Del Rey’s 2015 masterpiece Honeymoon and a super unhinged free jazz record by Milford Graves called Children of the Forest.

    #7. How many labels have you yourself been a part of operating? meaning specifically labels you’ve started or co-run. What was the first release of them all? What’s the most recent thing you’ve released on a label you run?

    Fred: Having had a lot of different record labels seems like a separate thing from having a lot of different projects. Like, why wouldn’t you just stick with one? Hahah. For me, labels always came in collaborative or conceptual circumstances, hence the changes that happened with them over the years instead of still operating under the name of the first label I did. The first one was actually someone else’s thing that I co-opted. My friend Brad Hales lived on the west side of Ann Arbor and wanted to have a label called Westside Records. He offered to have the first release be the first 7″ from my band Chore. This was 1995. We got our side of things together but the release kept on getting pushed back or other things kinda came up. Eventually we just put it out ourselves using Westside Records as the label name, and I still remember Brad saying to me “Guess it’s your thing now.” Not angry or like he even cared that much, he just wasn’t as excited about it as I was. I rolled with that label from 1995-1999, which would have been my late teens and early 20’s. Big years!! Also super isolated years, though. I got really sick for part of that time with a kidney problem that took a few years to diagnose and treat, and it was really scary and painful. I remember a perpetually dark kinda feeling hanging over those years, but I always worked on label stuff to give myself hope. So many weird, confusing releases on Westside, which was later called Westside Audio Laboratories. Noise tapes, hardcore/punk as fuck bands, experimental shit, lots of compilations— really anything I was interested in at the time.

    In 2000 I started a label with Ben Bracken called hereforeveralways. Ben and I were inseparable best friends at the time and had a concept for a label that put out super limited, localized records, always 12″s that were supposed to be like snapshots of a moment more than typical records. We were young and had big ideas to put out new stuff every month, have a subscription service, etc. We ultimately put out three records and made more copies than we could sell. Around the same time I started doing Ypsilanti Records, focusing on 7″s and less experimental stuff, but that essentially became the same kinda vibe as Westside. Michigan has so many creative people all doing wildly different things but all connected. So there are overlapping scenes and people who have crazy noise projects and also write pop music or do an ambient label and also hardcore bands. Ypsilanti Records was named after the town in Michigan where grew up and still live today. Eventually that label did a ton of small releases. There was a time in 2005 where I would put out a new CD-R every Tuesday with hand-made art in an edition of 30 copies. Going back to the dream of just documenting a moment. Looking back, those CDRs do feel a lot like 2005, so I guess it succeeded.

    In 2006 I left Michigan for a few years, moving to Portland and then to Brooklyn. I still did a little bit of label stuff in those years but not much because I was broke and struggling. When I came back to Michigan in 2010, there was a scene of folks really interested in tapes and sharing ideas quickly and cheaply through limited run cassettes. This continued the idea of just grabbing the essence of what was happening at the time and communicating with the people around you. Life Like started in 2010, mostly really limited cassette releases and eventually a few LPs. Almost all of the 144 Life Like releases have been made in editions of under 50 and the only ones that aren’t sold out are the LPs I pressed a couple hundred copies of. The last thing released on Life Like was the debut album from Detroit songwriter Valerie Salerno, who plays under the name Dick Texas.

    (Failed Flowers, St. Paul, MN, 10/2017)

    #7.5. As this is an interview for 25 DIAMONDS, can you share any reflections or memories on the 2 records we did together? (Failed Flowers 12″ and Hydropark LP)

    Fred: The nine Failed Flowers songs that made it onto our LP with 25D are some of my proudest moments. There’s a certain kind of band that’s always been really inspiring to me in such a particular way; short-lived but really powerful bands who only managed to get out one 7″ or a single LP before imploding. It’s just so fascinating to think about the circumstances surrounding a moment like Rites of Spring or Void or Life Without Buildings, and why they were gone almost as soon as they began. Failed Flowers ended up being a band like that. We made one demo before the original other singer/guitarist quit, did a couple of really quick and rugged recording sessions with Anna that resulted in the LP, played maybe seven shows total, with only a few outside of Michigan, and then didn’t even see each other for a few years until Slumberland asked us to do a 7″. It all happened within the span of maybe two years, most of which I spent living away from the rest of the band members. There wasn’t a ton of thought or design put into any of it, but song after song of sharp, exciting, direct melodic punk just kind of materialized for a few years, and it all still holds up really well.

    Hilariously, Hydropark was the complete polar opposite! That was a band that got together every week for years, practicing and jamming and recording and refining ideas to the point of tedium. I was pushing really, really hard for us to finish work on an LP of the songs that were our live set for the last few years we were active, but it proved pretty much impossible to get everyone on the same page. When the idea was proposed for a 25D release and a more officialized LP wasn’t happening, we decided to instead put together a kind of mixtape/beat tape style release with excerpts from the graveyard of jams and sketches we’d been recording since we started in 2013. It turned out great, and it’s a lot of fun to listen to, but I always wished we’d managed to get it together enough to just track those eight unrealized songs.

    (Hydropark, Milwaukee, WI, 04/2018)

    #8. Will you share the story of how you met your (now) wife, Emily? What has been the biggest surprise to you about being married? Do you imagine you may ever have kid(s)? Can you imagine how dramatically that could (or potentially might not) change your life?

    Fred: Emily grew up in Ann Arbor and we strangely crossed paths over time before we met. They were in Portland for some of the time I lived there and went to school in New York when I was in Brooklyn, so by the time we were officially introduced there was this strange kind of  “but wait, don’t we know each other from somewhere?” feeling. Emily was doing performance art in Ann Arbor around the time we were introduced, usually at shows with noise artists or rock bands. They played a show that one of my bands also played at, and while I’d seen them around and known them as a friend of a friend, I fell in love the first time I saw Emily perform. Emily was and continues to be the most fearless, unflinchingly self-assured and pure presences I’d ever encountered. It was amazing and instant. When we started talking more it became apparent that this was it for me, and also for Emily. No questions, no confusion, no obstacles, we were in love and going to be together. We got married really quickly even though neither of us were big “I wanna get married!!!!” kinda people. I guess the surprise for me is how clear and absolute it feels to be in a solidly committed thing like marriage. We don’t have a lot of stock in marriage as an institution or religion of any kind, but it feels amazing to know your love is the center of things. We have no plans to have children. I can’t imagine what creating a new life would mean.

    #9. stream of conscious style, will you tell me 5 albums and 5 7″s that have been an important part of shaping who you are? any additional antidotes such as where/when you first heard them, that kinda thing are also appreciated 🙂

    Fred: Oh man, there’s so many, but I remember hearing Beat Happening’s “Hot Chocolate Boy” on a mix tape my friend Alivia made for me and losing it. I found Black Candy and that was just an endless well of fascination for me. Around the same time, the Dead C’s The White House had just come out and that broke things wide open for me, too. It was winter and I didn’t have a car, so I was walking and taking the bus in sub zero weather, constantly broke and starving and listening to this strange, frozen weird music on headphones. Unrest’s Perfect Teeth and Circle Jerks Group Sex were both high school records for me that somehow communicated similar feelings really differently, and then when I first heard Odessey and Oracle by the Zombies, that changed my approach to songwriting completely. As for 7″s, there were so many that I loved a lot but I have a harder time placing them as life-shifting for some reason.

    #10. Is Ann Arbor “home”? If not, is anywhere? If so, what are a few of your favorite under the radar spots there? What’s one thing it severely lacks that you would change if you could?

    Fred: My experience and history with Ann Arbor is amazing, and probably something that only a few folks I grew up with would totally relate to. Everyone’s life gives them good times and cool eras, but for me, I couldn’t have asked for a richer experience than being a teenager in Ann Arbor in the 90’s. That wasn’t just a golden era, either, I really hung on to the best parts of the weirdo freak scene that a town full of smart, progressive and slightly damaged people is always going to cultivate, and steered clear of any of the hassles that also come along with it. It has changed a lot, like much of the country, growing more comfortable and accommodating for the wealthy, getting crowded, hostile, homogeneous. There’s still some of the spirit intact that made the town so special when I was growing up, though, but I hesitate to call it home, just because that concept doesn’t seem to fit my life completely and I don’t trust the idea that we need a home, that some place is going to be an answer that can’t be found elsewhere. I have spent more time in Ann Arbor than anywhere else, though, and I know it pretty well, and I love the town. The spots that will always hold up for me are the college radio station- WCBN, Encore Records, a shop that’s been selling independent music in some form or another since the 60’s, various parks, woods, side streets and off-the-map routes that still feel like no one knows about and the spirit that still happens whenever the kids get together for a basement show. That’s where I started understanding how important punk was some 30 years ago, and it still feels the same today.

    #11. What does the immediate future hold for you? Musically, artistically, personally?

    Fred: When we first started this interview chain, close to seven years ago, now, I was excited about a new solo album that was about to come out, and work with a few bands that have by now either broken up or I’ve moved on from. It’s hilarious, because in the interim, that cycle has happened a few more times over, and at this exact moment I’m in the valley that happens after an album is released, the shows are performed, the excitement wanes, and you’re back in a room regrouping to start working on the next new thing. What that next thing is this time, I don’t know. There have been a few moments in the interview where I touched on feeling surprised to still be playing punk shows in my 40s, and that feeling hasn’t lessened as I inch closer to my 50s. There’s more songs, and I feel like they’re getting better, but I’ll never totally know if that’s a feeling I can trust.

    #12. Let’s wrap this up by speaking on sustainability. To what degree are you a ‘professional’ musician? Do you have side hustles to make the ends meet? Would you prefer to be a full time artist if so?

    Fred: This is the question that comes up a lot more now than it did in the last few decades. I meet people playing music now who are really shook about “making it” in a way that seems more about the business side of things than any artistic or creative drive. That’s fine, people gotta eat and if your job is to play music and entertain, great. I personally have never made any money doing music. Even in times of amazing luck and windfall where a song got used in a movie and we sold a ton of t-shirts on tour and there was actual income from music, it never surpassed the expenses, even remotely. Thinking about making ends meet as a full time musician has always blown my mind because when you break it down, if your goal is to make a lot of money, playing in a band is the worst bet. At the end of tours, we’d sometimes play a game where we calculated the hourly wage we’d made. Lots of time in the van on a 12 hour drive, so we got really into it. We were technically “working” from the minute we got in the van until the minute we lay down on some stranger’s floor, but might as well factor in lunch breaks, even be generous and factor in any free food or drinks as a benefits package, etc. So when the tour made money and everyone took home $700 at the end of a four week ride, the hourly wage was still like $1.50 or something ungodly like that!!! So no, I don’t think of myself as a professional musician and never have. There have been times I haven’t had a job and concentrated more on touring or music, but in those times, the rent was getting paid out of savings, selling my records on eBay, painting houses, doing freelance work, giving music lessons, etc. I wouldn’t prefer to be a full time artist because that’s just not how I’ve done it ever. The job you’re working against is funding the art and also placing boundaries and opposition to make the art actually mean something. Any time I’ve had an open week to work on music, it starts strong and falters with too much wispy freedom to meander. Some of the best music I’ve ever made has been created in the spare hour I had between work commitments.

    13. So finally – why? Why all the work for so little pay? Why independent, why DIY? Clearly something has kept you so simultaneously motivated and devoted, but to an outside eye, it likely doesn’t make any sense – do you understand why you do what you do and how you do it?

    The very reason I started making music was because it felt like a space outside of having to think about the evils that surround. When I was an early teenager spending hours playing guitar and making up conceptual bands, it was so I could not be feeling bad about myself, which is what everything else in my life made me feel. When I started actually playing shows it was the excitement and joy that all the work and hassle of everyday life afforded. To actually make records of my art, perform it for others, have grown with a community that’s worldwide, this is all amazing and bright and for me exists outside of monetary considerations and always has. There’s been approximately zero times when I was like “hmmmm, this gig doesn’t pay enough. I really love this music and the people I’ll see there, but I don’t leave the house for less than $200.” To me, this beautiful art and life I get to be a part of is all pushing away from the brutal, inhuman systems in place that equate to “making a living.” It all costs money, for now, but the spirit and the sounds have been around long before money and I’m trying to keep sight of that. 

    (interviewee and interviewer, St. Paul, 06/2024)

  • Q: I’M CURIOUS JUST HOW LONG TEENAGE MOODS HAVE OFFICIALLY BEEN A BAND AT THIS POINT. DO YOU REMEMBER THE VERY FIRST TEENAGE MOODS SHOW? WHAT CAN YOU TELL ME ABOUT IT?

    A: We have been a band for a long time! We’ve all grown a lot as friends and musicians. Our first show as teenage moods was also Jillian’s first show playing in a band. I think our first show was at the triple rock or hexagon bar, I remember my legs shaking lol, was so nervous was thinking like, what the fuck am i doing i don’t belong up here! I remember our friends being super psyched and I had never gotten that kind of excitement and feedback from anything I’ve ever done before. I love making music for my friends

    Q: CAN YOU DISCUSS SOME OF THE LINE UP CHANGES THE BAND HAS BEEN THROUGH OVER THE YEARS AND REASONS FOR THEM?

    A: The core of teenage moods is based on friendship and being creative together. We started as a three piece (jillian, gordon and taylor) and had a good long run together, putting out four albums. At a certain point we picked up Kyle aka pork chop and Elliot aka tickle torture. The unspoken contract with them was always “come and go as you please, we always love to have you.” With Nikki joining it was a no brainer, our first choice, and was Taylor approved. Now we’ve got Porkchop on the 12 string and its our favorite version yet!

    Q: WHAT IS THE OLDEST SONG TEENAGE MOODS HAVE WRITEN THAT IS STILL A PART OF YOUR (AT LEAST SEMI) REGULAR REPERTOIRE?

    A: Tulip Tattoo, its a permanent charm

    Q: GORDON AND JILLIAN, YOU BOTH WORK WITHIN OTHER MEDIUMS AS VISUAL ARTISTS AS WELL. CAN YOU DISCUSS THIS WITH ME A BIT MORE? DO EITHER OF YOU HAVE A FORMAL TRAINING/EDUCATION? NIKKI AND KYLE, DO EITHER OF YOU WORK IN OTHER MEDIUMS AS WELL?

    A: Jillian does all the art for Teenage Moods, album covers, flyer art, buttons, stickers, etc…it has definately helped to make it a more wonderful and unified package and we are all exponentially grateful for her works of art.Gordo does our videos now and they are stunning and fun to work on as a team. His love for making lil movies for us and others is coming into its own and he is currently editing a video as we speak…ahem. Nikki and Kyle make jokes, they should make a joke book!

    Q: I BELIEVE EVERY SINGLE ONE OF YOU PLAY IN AT LEAST 1 OTHER BAND AS WELL, CORRECT? CAN YOU TELL ME WHAT THESE BANDS ARE AND GIVE A LITTLE INFO ON THEM?

    A: Nikki: I drum in two other bands. The Cult of Lip (formerly VATS) with Ronnie Lee and Hannah Porter. We have a loud pedal driven psyche/shoegaze thing going on.And royal brat with Alex Uhrich and Clara Salyer. That band definitely has a foot in the punk genre but we like to on occasion bring it down a bit so people have a chance to catch their breath between rippers.Jillian: I also play bass in The Velveteens, everyone’s favorite lil weirdo dark twee pop band

    Q: WITHOUT GOING INTO UNCOMFORTABLE PERSONAL TERRITORY, CAN YOU DISCUSS HOW ROMANTIC RELATIONSHIPS HAVE AFFECTED THE BAND OVER THE YEARS? HOW DOES THE DYNAMIC OF BEING IN A RELATIONSHIP AFFECT BEING IN A BAND WITH SOMEONE? HOW DOES THE DYNAMIC OF NO LONGER BEING IN A RELATIONSHIP WITH SOMEONE AFFECT THE DYNAMIC?

    A: Overall, it hasn’t really changed the dynamic. We were friends before the band. We’re stronger for actually having a relationship not go down in flames and better friends for it! Besides, Gordon would have to go back to “solo acoustic sad shit” LOL

    Q: WHAT IS THE VERY WORST SHOW TEENAGE MOODS EVER PLAYED? WHAT MAKES FOR A DEFINITIVELY BAD SHOW?

    A: you know, we’ve had bad shows, every band does but honestly we almost never notice when the show is bad because its always fun. we always make it fun because we enjoy being around each other, making new friends/hanging out with old ones, and sharing our music. So like maybe some nights we play a bit off or we play in a city across the US where we dont get paid and play to 3 people but its still fun because we are together.

    Q: WHAT BAND(S) HAVE YOU NEVER PLAYED WITH THAT YOU WOULD LOVE TO?

    A: I mean we got to play with Fred and Toody Cole from Dead Moon so I dont have a list anymore…

    Q; LOCALLY OR NOT, CAN YOU DISCUSS SOME OTHER BANDS YOU GUYS REALLY DIG?

    A: Nikki: Brilliant Beast, BOYF, Real numbers are our super buds and a rippin’ band! I love those France Camp dudes! I looove Toxic Shrews holy shit!!!!Jillian: Daisy Chains, so into daisy chains. And Uranium Club! Gordon: Sheer Mag is one of the best live rock bands I’ve seen in a really long time. Animal Lover,

    Q: JILLIAN AND NIKKI, I’M CURIOUS IF YOU FEEL YOU HAVE OR DO EXPERIENCE MUCH SEXISM AS FEMALE MUSICIANS? ARE THERE WAYS/TIMES YOU FEEL TAKEN LESS SERIOUSLY THAN YOUR MALE BAND MATES? HOW HAVE YOU DEALT WITH ANY SEXISM YOU MAY HAVE EXPERIENCED?

    A: Nikki: it happens and really for me it could be something as simple as ” ALRIGHT! I love chick drummers!” but it’s like…What does my gender have to do with my ability to play the drums!? I’m not holding the sticks with my tits. But for the most part Jillian and I are taken pretty seriously especially in Minneapolis which we are both grateful for. It’s nice to be seen as an equal at home. We also do our damnest to make sure any and all people we play with feel comfortable and safe. Rock and Roll is about friendship and fun!Jillian: I feel like a lot of times its just so casual and men don’t even realize what they are saying, its just that ingrained in our society and language! Let’s change it! Think about it, seriously dudes. And for me as a woman playing music, it’s just that much more important being visible, so we’ve got to stick together and make our presence felt and especially heard!

    Q: IN WHAT WAYS ARE (OR AREN’T) TEENAGE MOODS A “PUNK” BAND?

    A: That is a great question. WEll, I think we were on one perons maximum rocknroll’s list once…you got us a couple of reviews in razor cake Ian lol and we still play basement shows almost any time we are asked..

    Q: WHY IS MAKING MUSIC IMPORTANT? EITHER TO YOU PERSONALLY, TO THE WORLD, OR BOTH.

    A: Jillian: I was actually thinking about this the other day, also with visual art, I was just like “what’s the point” I felt kind of disconnected from my own art and maybe looking at other people’s art through the internet isn’t always the best idea , sometimes you can’t always take it in the right way, and the next day I was talking with someone about it and sharing experiences with them and we were trading compliments and whatever and I felt really connected to them in the moment and now looking back on it, I think that’s it! connecting with people.

    Q: WITH SUCH LONGEVITY UNDER YOUR COLLECTIVE BELT AT THIS POINT, WHAT COULD CAUSE THE END OF TEENAGE MOODS?

    A: Jillian: So far we haven’t really slowed down too much to think about stopping. Great opportunities are always coming our way and we are all successfully creatively expressing ourselves with the project. I think even if we did stop playing shows and practicing we’d be hanging out or see each other around and it would still feel like teenage moods.

  • #1: I am curious to know about your beginnings. Where were you born and raised? Who raised you? What were you like as a kid/teenager? At what point/age did you get exposed, involved, whatever with.. “punk”, “underground”, whatever we call this? Who and what did those beginnings consist of (meaning spaces, people, bands, etc)?

    VLF: 1: I am curious to know about your beginnings. Where were you born and raised?

    I was born on a stormy night at the 23rd hour of February 7, 1976, the bicentennial. Sun in Aquarius, Libra Rising, Taurus moon. In Chinese astrology I’m a Fire Dragon. It all began in San Diego, California at a hospital that had a sculpture of a stork out front carrying a baby, it has all since burned down.

    I grew up predominately in Carlsbad, California. Some amazing things, and people came from Carlsbad (like Tony Hawk lived in the house behind me) which seems kind of strange because in my opinion it’s the less cool of the beach towns on that southern coast. Carlsbad is where the people/places/things relative to your question took shape for me.

    Who raised you?

    The Mama & the Papa, albeit divorced they still raised me. I’m an only child so I also spent a lot of time with myself which I loved and was a huge aspect of my self rising/self raising. I was fiercely independent.

    There was a very pivotal moment for me in my teens age 13 or 14, that I think pertains to your query ,where I had done something like got drunk, partied, which I had never done before and I told my mom. Her and I were super close up till then and I was very into having full disclosure with her. Of course she flipped out and put me on restriction, but I decided from that point on I would now have to lie or curate the truth in order to have the freedom I desired and honestly felt I deserved. I thereby was determined to always do what I wanted to do permission granted or not, and for the most part that was how I operated infinitely, I mean I still hold the “torch of freedom” as my anthem:)))))he he

    What were you like as a kid/teenager?

    I was voracious for adventure, freedom, nympho, wanderer, obsessed with clothes and the mystical realms,a bit of a thief (but only toward the “man” ha ha), and still kind of loner vibes. 

    At what point/age did you get exposed, involved, whatever with.. “punk”, “underground”, whatever we call this? Who and what did those beginnings consist of (meaning spaces, people, bands, etc)?

    It’s a pretty interesting actually because Mac Mann was the reason I joined a band (in time “our band” Get Hustle) but I was kinda obsessed with him since 7th grade. He was super hot and always so far ahead of style, and anything happening at that time. He wore bondage gear in junior high and was the first guy to get a tattoo, he had dread locks in highschool and this insane vintage truck. Everything Mac did was strange, brilliant, visionary, sexy, and it stood out.

    We went to junior high and highschool together and it wasn’t till my junior year of highschool that I actually met the people that would in time lead me to music, the music scene, and that whole lifestyle. I remember the day clearly because I came to school and the entire facade of the gym was painted in HUGE black words “Nation of Ulysses” I had no idea what it meant. It was fucking radddd and I thought “who ever did that I want to know them”, which I did. It was Mac and this guy named Ryan Noel who was in the band Clikatat Ikatowi. Ryan and I ended up dating not long after and I also became friends with Mac separately and their collective friends. Those were the people I hung out with and went to shows with, I guess that all started around age 14.

    The Che Cafe was a main go to spot and a few other places in downtown San Diego. There were houses, abandoned store fronts, super rando places people conjured shows. We would go all over though, get rides to Jabberjaw in L.A, anywhere a show was happening we would try and make it happen. I remember climbing through a window at the fairgrounds to see Fugazi. 

    Seeing bands like Crash Worship ,Bikini Kill, Nation of Ulysses, Antioch Arrow, Heroin blew my mind and just fueled my inner insatiable desire to be free and break free! Being around forces of nature like those bands and people inherently changed my cosmology even if I couldn’t predict how. In all honesty though I didn’t really come into my personal expression with music or myself till later on in Get Hustle. Once I heard MC5 it was like I finally had my foundation to express myself from. Mac was the golden thread that wove through it all and still does.

    #2: I happen to know that Valentine Lovecraft Falcon is not your given birth name. If this is comfortable for you, would you share when and why you adopted this moniker? What the significance was (and is)? Are you comfortable sharing your birth name? Does anyone in the world know or call you by it at this point?

    VLF: I wonder how this top secret information got out:))) ha ha just kidding. I was 18 years old heading to LA to start a new life with Mac (he was my boyfriend at the time). I had just read this book called “Mutant Message Down Under” and they talked about how in the aboriginal culture (the one specific to the book) a person was named when they’re born but that name can change after the personality is more developed and positive and/or powerful characteristics could there by be made more significant amd become embodied for that person. Many indigenous tribes do this and cultures.

    It really inspired me. I never sat quite right with my birth name. I didn’t like saying it, I was always trying to adjust it to suit me, I didn’t like writing it out either. My whole name always felt like the wrong “goldilocks” chair.

    So I just asked myself that day if I could choose my name what would it be, and “Valentine” was the first name to come into my mind. It felt like something to live up to as well, to grow into. In my mind “Valentine” was the one who delivers or gives love, love personified.

    I went by Valentine for almost 9 years, trying out various last names, etc. Once I came up with the full name (first,middle,last) I changed it legally, at that point my mom revealed that “Valentine”was the name she had also chosen for me as a baby but didn’t follow through for fear I’d get made fun of. So in truth that was much birth name that I had to summon on my own accord. The “Lovecraft Falcon” was just the completion of the “name-spaceship” so it could fly:)))))

    You speak your name the most in life. Its who you say “you are”. “Hello nice to meet you I’m ________”. So its important to feel aligned with your Identifier at least that’s the conclusion I’ve come to.

    You can’t be a total beyatch and be a Valentine Lovecraft Falcon ha ha ,although I have been one, but I’ve thought about that a lot and check myself allllll the time. 

    The name can also be a reclamation of a soul “code” or vibration, people do it with gender,culture, sexuality, you know, all the tings’. The name is our first mantra we say over, and over, and over it has a vibration and frequency, if you have a name that is empowering for you (it can be anything) it’s like you’re affirming yourself every time you speak it.

    I also am curious about how people feel about their names because when I’m slacking or feeling weak sometimes my name bouys me up. The bank teller at Wells Fargo is named “Geronimo” and he looked pretty bad ass actually, but I wondered how he felt having that name to live up to.

    Does anyone in the world know or call you by it at this point?

    Sometimes when my parents tell a story or they get animated they say my entry level name. Otherwise people know me as Valentine because that’s who I am:)))).

    #3: So was Get Hustle truly your first ever band? Had you had any background in ‘performance art’ previously? What were your intentions and inspirations in forming GH? What do you remember about the 1st show you ever played?

    VLF: I was inspired to start singing after I went to a Yoko Ono live performance, she did some sound contortions and it broke open something inside me, in that moment I decided I would become a singer. I started taking lessons from this man in our building, he was old hollywood and had empty bottles of brandy all over his house and a lovely piano. I didn’t have any interest in being in a band I wanted to sing old school style, like around camp fires, at the edge of a piano (like Billy Holiday),end of the night drunken sailor, or Appalachian family band. Mac’s band at the time needed a singer and couldn’t get anyone so I decided to fill in till they found someone. So yes Get Hustle was my first band inadvertently since I thought it was temporary till they found their “real” singer.

    Had you had any background in ‘performance art’ previously?

    No way that thought never even crossed my mind. 

    What were your intentions and inspirations in forming GH?

    As I said it wasn’t my intention, Mac and Maximillion had moved to LA to do Antioch Arrow, I moved to LA to be with Mac and be an artist:))). 

    In my personal opinion, and I’m curious what Mac and Maximillion would say, I don’t feel like “Get Hustle” really came into it’s own till we moved to Portland. I was a pretty weak singer and performer, I didn’t really have a vision. 

    At some point though living in Portland I got super into vintage motorcycles, 70’s biker culture, black panther movement, Fela Kuti (Ginger Baker & Tony Allen drumming style), always gospel music and preachers, MC5, Betty Davis was a huge influence,New Orleans aesthetics and vibe.Those inspirations coupled with a sense that I was being fearful and staying safe on stage inspired me to keep pushing my edge. I personally became more driven and intentional with my singing and what I wanted the music to feel like. But everyone was on that page too, they were down with all of it.

    Of course there was the bands we watched live too over the years that I probably took inspiration from it was a very organic cumulative expression with GH. When it became just us 3, even though I loved all of our band mates over the years, I felt it was the most essenceful of whatever the entity of Get Hustle was about. Maxamillion was able to fully showcase his mad drumming skittles and Mac with the instrument and visionary sound he created, I’ve still heard nothing like it. 

    What do you remember about the 1st show you ever played?

    Oh man it was terrible, it was in some awful club in LA, I think Buzz from the Melvins was there (because his wife Mackie was in GH at the time) and maybe 2 other people. I don’t even remember anything else to be honest. I do remember Buzz giving me the best advice ever, which is you have to play 50 shows before you can even begin to feel comfortable or know yourself as a performer and musician. SO true, I thought about that forever.

    #4: Can you detail some of the rotating line ups that GH had? Are there any stories you would like to share that relate to GH? What can you tell me about the last time GH played? Is the band done? Will it ever be?

    VLF: When I first joined GH David Scott Stone was the guitar player and Mackie Osborne played bass. Later we (Mac, Maxamillion and I) moved from LA to Portland to play with Mark Evan Burden (Currently goes by Evan Burden) he played a Hammond B3 organ and brought that beast on tour which I still think is an epic mythological feat (they would literally haul it up flights of stairs!).

    I don’t have a ton of stories relative to GH,for me it’s a series of cool things or appreciations. I got to live in a 3 story haunted house with Mac and Maxamillion, a place where so much personal creativity happened for me, it was a magic house called “The Little Fawn”. Because of GH I got to stay in a anarchist squat house (in Germany I believe) that was fully functional, many people lived there but it was clean and organized and cool as fuck. GH played on an old train car in Stuttgart, this wonder woman style dominatrix woman was kind of my body guard the whole night, that was rad…Once we played on an island in Canada and these people had built huge mushroom dwellings (multiple stories high) in their backyard, you could walk through them, it was like a psychedelic Disneyland. There’s so many rando things like that-better told in person me thinks:)))).

    Touring in Europe was a huge eye opener, how much people took care of the bands, we would always have coffee and food awaiting us in the morning. No matter how small a place was they would make sure you had a place to sleep, cities even provided sleeping quarters (!), food, etc. I had never experienced that level of care or budget provided for the arts, especially a form of “outsider art”. With that said over 13 years of touring the states we only HAD to get a hotel, there was always one or more people offering us a place to stay. I think that speaks a lot to how regardless of government or funding (like europe) the support for artists and musicians can always be there. 

    The last show we played was a reunion show for the venue in LA called The Smell (which Mac helped build). It was a pretty powerful show aside from a chronic “mysterious” most likely psychosomatic illness I would get that always impacted my voice and ability to sing. We all rose above it and brought the power. 

    As far as being “done” I don’t know honestly, we never talked about it. I don’t feel done, and Maxamillion has GH listed as a band he is currently in,I always think of it as dormant. Life is so damn mysterious who knows what will beckon next!

    #5: Do you miss being in a band/performing music? If so, what elements? Are there elements you don’t miss at all? Have you maintained relationships with Mac and Max?

    VLF: Do you miss being in a band/performing music? If so, what elements? Are there elements you don’t miss at all? Have you maintained relationships with Mac and Max?

    A:I definitely miss elements of both, in fact I longed for them for years (still do in a way:))). To roll deep with Maxamillion and Mac especially our last us tour, and of course preforming is such a heightened state of expression and connecting to the powers of the universe, ha ha. In truth though I was never really great after I got off stage, I would want to be alone but you’re immersed with people usually till the end of the night. It was challenging for me and if I wasn’t on the yogi path for most of my touring years I probably would have become an alcoholic to escape. I’m more in the hermetic clan:)))) I think because my life has always revolved more around spirtual pursuits I didn’t feel totally connected to the whole band life. There was a million rad things about touring, traveling, creating music, preforming music but I also was always wanting something else that I couldn’t quite put my finger on. I felt “it” on stage mostly or in the creation aspect of making music with Mac and Maxamillion. It’s weird to have a very wild-erness kind of inner nature, and yet a feeling that it needs to be channled in a direction but not sure how (I’m not great at band/tour life but yogi life can bore the shit out of me sometimes), I’m still figuring it out. 

    Mac and Maxamillion feel like brothers to me and although we don’t talk often they are always family when ever those moments present themselves. So yes we are still very much in contact. I think they are both seriously amazing humans.

    #6: This lends well with where I hoped to travel to next. You spoke in your last answer of spiritual pursuits and yogi paths — can you expand on this? After Get Hustle, where did life take you? Physically, as well as following what other forms of creative/artistic/other worldly endeavors? Can you speak on some of the ways in which you practice Healing Arts?

    VLF: At around the age of 22/23 I began a meditation practice that was also part of an ideology and way of living. It completely changed my life and I dove head first into all aspects of this practice. It is called Raj Yoga meditation and I learned it through the Brahma Kumaris World Spiritual Organization. Whilst doing this I was also totally immersed in Get Hustle. It was a pretty intense juxtaposition only because the Brahma Kumaris yogi lifestyle was quite austere (monk style). I left that practice at the end of 2011 after finally realizing that lifestyle and it’s “ways” were actually just not for me. I was then led into what is refered to as “Personal Growth” worlds aka “Self Help”.

    From there I began a 9 year self directed deep dive into all aspects of personal growth and “self healing” which included a million different “processes”, plant medicine (ayahuasca, psilocybin mushrooms, microdosing, DMT, Kambo, and cannabis), sound healing, hypnotherapy, a 7 month Mystery School training and mentorship in 2020, and present day continued work with esoteric modalities like the merkabah, mediation, Whim Hoff breathwork (yes, and cold treatment), plant spirit medicine, herbal studies and so on. 

    During that time, which I now perceive as my “training” I was able to overcome the addictions I sought to heal and the underlying trauma that caused them. From that mythological “hero’s” journey a healing ART was birthed. I call it Imaginal Realm Oracle Medicine, it’s both my healing practice and my ART.

    I am an ARTIST-HEALER which is where I landed from Get Hustle to now. I think ARTIST-HEALER (Artist aka Creators) is the new human, being created by plants, Nature and the Higher Powers. My feeling is that the more  people touched by spiritual awakenings either  spontaneously or via plant medicine are seeking a more transpersonal impact in conjunction with their soul’s calling. For example in the past I would have said “I’m a singer, I’m a business owner, I’m an artist” now I feel that I am truly both Artist-Healer as one modality, one self, one expression.

    Imaginal Realms Oracle Medicine was created in the same way I would make a piece of art, specifically a collage. In heeding the “healer’s call” aka becoming a healer I needed to feel the personal freedom and artistic expression I experienced at the pinnacle of Get Hustle. I wanted to do something that simultaneously FELT like I was making art yet honored my values and desire to contribute healing and liberation to myself, Mother Earth and my fellow humans.

    “I.R.O.M” has it’s origins in shamanic journeying, seership, tarot, mediumship, auger-ing, sound healing, quantum healing yet it doesn’t come from one specific training, school, or teacher. I “collaged” it together and  IT became its own modality. I am hoping more fellow creators (everyone) give themselves permission to utilize NON-ORDINARY REALITY aka Quantum Field/Imaginal Realms/IMAGINATION as a relevant source akin to a school, teacher, training, certification, etc. ((Walt Disney did:)).

    To treat our Imagination and these other Realms as one would a prestigious college is to step into a new level of sovereignty and authority-YES! Imagine having your very own crew of teachers, business coaches, healers, plant guides there to assist and guide your personal divine path, that is what accessing this Quantum/Imaginal field offers. It’s truly our birthright. It also transforms us from “extractor, coloniser, consumer, cultural appropriator” to one who is receiving, sharing and living from the very place of all Creation. We become part of the solution, offering life-affirming, life sustaining, “7-generation” stylez consciousness and living to truly be and model “the change we want to see in the world”. We secede from this muther fuckin cult -wink and re-create the original culture of interconnectedness.

    I give all sentient beings permission to trust their imagination as a literal nation (imagi-nation), and to go there as one would as an astronaut in space. Be an AWE-IST access and utilize this incredible, infinite, unlimited, un-dogmatized REALITY to become the most holy-and whole-ly human on this earth, now, WOW.

    #7: 2 parter, dude:

    A, to the level of comfort you feel capable, will you expand a bit on what brought you to meditative/healing practices at such a young age? you speak of essentially living a monk-like lifestyle at a time when many people are only starting to just cut loose, proverbially – at least on paper, it sounds like you were ready to stop hurting and avoiding at a place where many are only beginning. in 1 quick sentence you mention addictions and trauma — are you able to speak a little more specifically of what this meant, what it may have looked like?

    VLF: I think I’ve always been inclined to the supernatural, spiritual and metaphysical dimensions. Some of my earliest memories recall paranormal tv shows I was obsessed with watching. I had many moments in my youth of feeling totally expanded and at one with the Universe before I even knew what that meant. 

    When you are touched by an ineffable depth of knowing or being that lays the course for becoming a Mystic & Seeker me thinks ha ha.

    Around age 13/14 I became deeply aware of the impact we were making on the Earth it was a constant source of sadness for me and from that time on I really wanted to find a way to contribute and be in service on some level.

    This being my set tone of consciousness I’ve ALWAYS been wanting to fill myself on a spiritual level whilst push my personal boundaries, be fearless and contribute. 

    Living in LA I became an artist; painting and drawing everyday, I was very much in love (with Mac), and felt pretty cool with life yet there was a lack of spiritual depth. In my early 20’s I read Black Elk Speaks and I embarked again on the seeker’s quest. I worked with the I-Ching relgiously, hit a wall and then my friend suggested this Raj Yoga mediation practice.

    The meditation practice was about changing your consciousness and thereby being the change you want to see and contribute to the world.

    Im not sure those around me would say I was “monk like” ha ha. There was some hypocrisy on my part for sure! Yet in my heart and in my daily life I was dedicated to this shift in consciousness.

    When I moved to be with Billy in 2012 I became aware that I was developing a habit with drinking. I could see all the signs of addiction and self medicating. I’m pretty radically honest with myself so I knew I had a problem. Yet I also felt  intensely that there was a reason WHY I was using said substance to medicate (not that I see alcohol as medicine).

    I became driven to access and heal this root (see above for the years of processes etc).

    it wasn’t till 2019 June 1st when a disembodied voice woke me up and said “are you ready to commit to your sobriety”, I wasn’t and yet as an act of “subtle activism” on June 12, 2020 when I signed up for the Know The Self mystery school I went sober (synchronistically you had to be sober to join the school).

    A week into the school the “trauma” in question surfaced. It was a molestation that occurred to me when I was a baby. I had multiple sexual abuses in my youth and later in my teens. It’s a lengthy conversation as to how these transgressions impacted my(people’s) life yet the relief I had in discovering the big “WHY” was a serious miracle. Not too many months later my “seership” gifts came on line and well you know the deal:))).

    B, to speak of tools for healing and growth as if a “prestigious college” sounds not just amazing, but outright revolutionary. and so i ask: is this possible? is this realistic? will our modern society/world stick around long enough to see this level of potential?

    VLF: The answer is YES I mean where the hell does information come from? That question alone will take you on a wild rabbit hole expedition to convince you of this answer. Also Is it realistic? What does that even mean? Everything “real” was once a thought that became manifest, literally everything besides nature’s creations was first a thought.

    Teachings didn’t originate from a humans. It comes from thoughts, imagination, quantum field the intangible made tangible. Humans are conduits that harness, magnetize, or access information and then make it manifest we’re little creators:))).

     I think at this time people are changing their human form to-again- be the antenna receivers of information that is fully formed in the “I cloud” of the Universe. Our brains have crystals in it, our heart has a magnetized field that transmits and receives data, our gut (when not damaged) literally is extrasensory also know as the first brain. Our entire body has incredible supernatural capabilities if not suppressed or forgotten by the modern ways. The implications for receiving knowledge are truly endless.

    Is there a process to un-indocrinating how we learn, yes! If you ask “who taught the teacher” and follow that inquiry back to it’s source, usually it came from nature, angels in the sky:))), plants, psychedelics, in between waking states, meditation on a mountain, visions, dreams, spring water (Viktor Schauberger), shamanic journey, etc. Whole concepts can land fully formed in the computer mysclieum network of our minds.

    will our modern society/world stick around long enough to see this level of potential?

    VLF: I question how modern our society is, there is mass emotional and environmental suffering. If you believe in “as within so without, as above so below” then it’s imperative to begin questioning the source and intentions of “fed” and followed information, an obvious statement in this context (da punks).

    Receiving knowledge, education from a life-affirming source will synergistically affirm life. Nature mirrors this when in an unadulterated state. 

    It goes back to the quote “we can’t solve our problems with the same thinking that we used to create them” it’s time to go off roading and see what happens. I’m hearing the question “what about medical education” the belief I offer includes it all.

    In my opinion “invisible non ordinary reality” direct SOURCES are doing a lot to get our attention.  I see myself as a little bridge between those worlds via the Imaginal Realms Sessions I offer. Helping people get access and receive these messages & teachings.  Many people are becoming bridges between worlds, in other times they were called shamans. Of course the shaman is making a come back yet artists (creators) have always been bridges.

    The invisible realm and it’s inhabitants see the meta picture, the solutions and the problems. That is why this way of learning is crewsh, it is outside of our culture it’s outside of time and space! Plus it’s fucking cool and it’s free, ta da!