MC Trachiotomy: The H.o.S. Interview
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Uncle Dan: First of all, I'd like to thank you for taking time out of your busy schedule to sit down for this e-talk.
Trach: Ya welcome.
UD: Your new album, w/Love From Tahiti, was finished for quite awhile before it actually saw the light of day. Any particular reason(s) for the delay in its release?
T: It's an independent record company release--on BULB RECORDS. He's a one man operation, plus he's running a couple of his own groups and changing residency state to state.
UD: w/Love From Tahiti has been getting a ton of rave reviews--well deserved, I might add. In light of this, have you seen your fanbase expand a lot since the last album? Are you pleased with the reaction you've gotten this time out?
T: Yes it has expanded--anytime more people are buying the stuff naturally expansion will occur. Sure I'm pleased, lil' surprized. Sometimes it can be hard for the head to get around it.
UD: The songs on w/Love From Tahiti essentially create one giant loop. This begs the question, how in the world were you able to create something so warped sounding when the loop-based form is structurally rigid by definition?
T: Layering different time signatures in different frequency ranges--and patience.
UD: As great as Robot Alien or Ghost is, w/Love From Tahiti does seem to have a greater sense of cohesion. How much of this do you attribute to the fact w/Love From Tahiti is loop-based? Do you think there are other factors which help explain this cohesion?
T: The debut release ROBOT ALIEN or GHOST was actually loop based, too. Song to song, the 2nd release, w/Love From Tahiti, was a love post card, giving it an overall themeatic effect lending itself to be a more cohesive result. A concept album, if you will.
UD: To my ears, this new album has a more traditionally soulful sound to it. That said, I can't help but wonder how much of an influence the late Ernie K-Doe had on this. Any words you'd like to share about The Emperor of the World?
T: Emperor of the UNIVERSE K-DOE was an incredible inspiration on so many levels. Truely soulful and kickin' it in that respect to this day. He is still an inspiration. Keeps me believing and striving towards my "WILDEST DREAMS."
UD: Being based out of New Orleans, you're constantly surrounded by a massive core of overwhelmingly creative artists--from fellow geniuses Miss Pussycat and Quintron, to killer bands such as Rainbow Fannypack and Imagine The Band. How much of a role does this richly talented community play in fostering and fueling your own brilliance?
T: Quite a lot. They are dear friends and fully supportive. By that I mean they ain't skert to say "eeeew--that's horrible!" Keepin' things on the honest and up and up. It's an honorable blast to know these people.
UD: Related to the last question, you work with a wide variety of collaborators. In fact, I heard from some friends that when you opened for the Butthole Surfers recently, you had a live guitarist onstage with you. How did that turn out? Do you have any plans to use live instrumentation in concert again?
T: I have played live shows with Q on DRUM BUDDY, dj's Flattuladies and Terpsicorians on the stage in New Orleans, in the past. That BHOLE show was the first time a conventional instrument such as the guitar was used. It was played by a guy known as el TONIO. We have done more shows in town. They have gone well. A bit of recording has taken place, as well. He has grasped the whole feeling. I hope to afford his presence on the road soon. Q is the only person that has played with me out of town. He is usually on the road already, and to my good fortune has taken me with him in the past. He gets me on the bill for his much larger and more popular shows, when we are in the same town/city. He was the emplimental force in the booking for my DEC 2002 tour of the N.E.
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