Before visiting L.A. at the beginning of the month, I got in touch with Tom Napack in order to set up some time with him to discuss his latest EP release as part of his solo project, Vanity Police.
Over a brunch in West Hollywood, we discussed his journey to going solo, why Purity Ring are awesome, what can be learned from dubstep, how the internet has changed music for the listener and much more.
You can download the Hey Loser EP on the Vanity Police Bandcamp page
Head on past the jump to read the interview
David: You’re just about to release the Hey Loser EP – tell us a bit about it.
Tom: When I was in Dangerous Muse, we were first signed to Cordless Records, in hindsight they were really ahead of their time, they were all about digital releases and this was 2005, it may have been right at the end of 2004, but they wanted all digital releases and their whole thing was ‘we wanna take it back to the way The Beatles were, where they had a new EP out every 6 months’ and so the fans and the listeners are engaged more rapidly and it’s not about “having an album”.
David: And now that’s so common and that’s the way the trend is going.
T: So what I wanna do is I have the next EP out in 6 months. The material is there and it’s about finding the time to finish it up. I’m still searching for the best way to execute everything.
It’s not a one man job – I get a lot of help from my studio partner Chris Cox. I work on his stuff as well and that’s great but it’d be great to expand. That’s the one thing about a label that I do miss; it’s having that outside input. It’s currently totally independent so not having someone who’s only marketing and someone who’s only this, it’s very easy to get stuck in your own head. When you’re doing the independent artist thing, it’s like I gotta break away and spend a whole day just telling people about this. It’s a day that I didn’t spend writing anything. So that can be unfortunate but it’s empowering. It does take a lot of time.
D: Did you feel restricted in any way with the label when you were doing that? What was the motivation to go independent this time round?
T: The motivation was to start totally fresh and just be like… okay, without speaking ill of anything, definitely along the way in doing the album for Dangerous Muse, there were a lot of people who tried to just add their two cents. There can be this label mentality where, whether you listen or not, they just wanna- everyone wants to say something. And one thing I’ve noticed specifically with having a lot of musician friends is that no one will every just listen to something and say ‘oh that’s great’. Everyone will be like ‘it’s cool but y’know the vocal could come up’. And I’m like can we just get back to listening to music? So now when someone plays something for me, unless there’s an egregious thing where I’m like ‘dude I can’t hear the kick drum and this is supposed to be a dance track’, I’m just like ‘it’s awesome’ because I’m trying to enjoy music and so many people are trying to put their hand in.
D: And sometimes that over-perfecting just goes too far.
T: And that’s what happened. A lot of stuff became stagnated and delayed because everything was being done and redone. There was one song that never even got finished and there was like 11 versions of it.
D: I remember hearing a leak of Homewrecker before the release and then the version came out on the Red EP and you could hear some big differences.
T: And there was even another version. And I’m not saying there’s anything wrong with the remixes or having a production go in a completely different direction but when you’re so indecisive that you can’t just commit to anything, and it wasn’t just the label, that was one reason I wanted to cast off working with anyone else because now it’s my project and on my terms. It’s taken me a little bit to put this out and that’s just because life goes on and we all have to do our own thing.
D: And was moving out to LA part of that clean break?
T: It absolutely was. Right before we were signed I’d spent a Summer with my aunt, she’s like my surrogate mother, she now lives in New York. So Labor Day, about two and a half years ago, we were on vacation together, just taking a weekend off with the rest of the family, but she and I were talking and she was like ‘why don’t you live in LA?’ and I’d always kinda halfway thought about it, particularly in the Winter in New York when it’s like I’m soooooo sooooo cold. I love New York but the cold each year was just getting to me more and more and at that moment I really just let my guard down and I thought about it and I said ‘I dunno, maybe I should move to LA’. And she was like ‘I think you should’. In that moment it was kinda decided and I began planning to move and it took me a bout 6 months and once I put that in motion, lots of other things happened to kinda line up and to solidify the break.
A week later, after deciding this, I got a call from the old head of Cordless Records, Jason Fiber, who I had always stayed close with, especially because we had a mutual love of industrial music. When we originally were signed, it was very sub-culture and I didn’t know a lot of people who were into it and he exposed me to a lot of it in New York but he was always like ‘ I’m from LA and it’s out in LA’.
Actually it wasn’t him – it was the drummer Joe Letz who played with us on NewNowNext [check out the performance here] and they had spoken together and this band Aesthetic Perfection was looking for a new keyboardist to be direct support for this band Combichrist, which is an industial band that I love. Jason introduced me to them but Joe played drums for Combichrist while we had him for the gigs and he was like ‘I was talking to Jason and I think it’d be really great if you did this tour’. So it was just really funny how immediately after putting it out to the universe and in my mind that I was gonna start in a new city that this new opportunity came around. It was still not my own thing, but starting to give me some perspective being on a bus tour, not a van tour and new musical working relationships. So I did this tour in November 2010. It was a great experience, tons of fun, made loads of friends. That kinda delayed my timeline a little bit because I had to rehearse and get ready. But it lined up perfectly, I moved at the very beginning of April 2011 and did another tour with them which started out here so I was prepping for that while I moved and shipped everything out and that was another month tour and then I came back and I kinda was doing LA for the past 2 years. It was about a clean break. I also felt in a very major way that New York didn’t have the music scene that I was connected to.
Now, it almost seems that the music scene has changed a bunch. One of my best friends who does a kind a techno project, whenever I’m back I always go out with him and it seems like I’m more aware of what New York has to offer me musically. There’s a really cool European influenced techno scene and I’ve got really back into electronic subculture music but all of my connections were all out here. I came out here to be able to sit down with someone face to face and not pick up the phone and in working relationships, that goes a long way.
One of the main things that I set out to do was work with Chris Cox who I had been introduced to through Josh Harris, who is another producer who’d worked on some of the Dangerous Muse stuff in the past. So I had met Chris out in his studio a couple of times out here when we’d be in LA and then Winter music conference, a year before I moved out, I went to one of his gigs and it was really late night after hours and I remember being in the hotel at like 4:30 and not wanting to go out but I knew I needed to have face time with this person, not knowing why. 6 months later, I called him up and just told him that I was moving into his studio. Now I know his side of the story where he was like ‘I was kinda at a weird point and I just knew the next thing that came my way, I was going to say yes to’ and that was me and now we share a studio that he’s been in for 14 years which is crazy. All the work that I knew of him, growing up listening to Thunderpuss in high school, this is where it all happened.
We’ve been working on a lot of remix stuff – we just did something for Kat Deluna [Chris Cox just published it to his Soundcloud] and Jason DeRulo and we did this Scream and Shout bootleg that actually got so much attention that it was picked up by Interscope Canada so that was kinda cool.
He had done a single recently which I had done a remix for as well and it went number one on Billboard Dance – first number one record! And that was a really great opportunity, it was done by Tommy Boy and it was cool that it got enough love to go all the way.
That was also good because I wanted to keep everything under the Vanity Police name but I think in the nineties artists would find the need to segregate different sounds by having different names.
D: Like Stuart Price, Jacques LuCont, The Thin White Duke, The Thin White Duck.
T: Totally, it’s like dude if you were just Stuart Price, this would be the same.
And I’ve realized, I’m doing darker electronic pop whatever you want to call it, at the end of the day to someone who doesn’t know electronic music, it’s just electronic weirdo stuff so for me to sub categorize it even more, it just makes it more confusing. I just did a remix for Aesthetic Perfection that comes out in June, a little more tech-housey, kinda minimal while the Oh Mama Hey thing [listen here] was a little more almost nu-disco. I’m really just trying to get back to a place where I’m not trying to do anything – it’s more like capturing a moment. And that comes back to reacting to the whole experience of doing the Dangerous Muse record, where it felt like we kinda weren’t capturing the moment because we wrote these songs but now they’re almost being shoved into a mold where it’s like ‘we just heard the Britney record’ or ‘so and so thinks the Lady Gaga record is really good, how can we be competitive?’
When we did The Rejection and Give Me Danger, we weren’t trying to do anything. As that came out, we thought it was cool, and that was it. And I knew that when we were doing it we couldn’t change it too much. When we worked with Ted Ottaviano he was very good at keeping what was there and just filling in the cracks. When we started working with other people, it became almost like a remixology so I’m trying to just make this very honest.
That can be hard to do. It’s too bad I didn’t realize this sooner but you get older and you become aware of too much. When we were doing the first songs, we were doing them that way because we only knew how to do so many things. They came out sounding a certain way because we only had x amount of gear and I only knew how to do x number of tricks so you have a limited tool set, whereas now I’m aware of many more things – not saying I’ve mastered them but I’m aware of them – and it does become a little debilitating at times but it also makes it fun and then you sometimes just let yourself go and it happens. I’m trying to keep everything sounding as it needs to sound but it’s hard as well because I find music these days is very rigid with the genres it fits into. While I’m trying to conceptualise this live, it’s difficult to figure out how I want to sell it, if that makes sense. So now I’m figuring out the live thing and then doing the next EP.
D: So with the previous Dangerous Muse remixes that were out there – there was the Alanis Morisette one [check it out here] and Kimberley Cole [check it out here] – was that more your work? I know the Veronicas one had your name to it [check it out here]
T: Yeah the Veronicas one was a huge problem for some people but yeah, all the Dangerous Muse remixes I did.
D: And at what point was the choice to go with the Vanity Police moniker?
T: Vanity Police, in my ideal world, was supposed to be the more weirdo darker thing that I did that some people just kinda get. Obviously, it had a more industrial influence but I don’t necessarily have that aggression any more So it was like I’ll do Dangerous Muse and when that record was done, I was writing all these songs and Mike just wasn’t interested in them. Some of them were darker and I had lyrics for all of them.
D: To me I kinda felt like the Red EP that Mike put out recently felt like a bit of a stylistic change [for Dangerous Muse].
T: Well, those were tracks that existed and those were like the third incarnations of those. It depends on who you work on something with. When you’re in a duo, because of that, it had a certain sound. When you’re working as one person, it sounds another way. It’s not a bad thing. It’s just what happens.
Vanity Police was never supposed to conflict with Dangerous Muse but I saw my involvement in Dangerous Muse, specifically with how I felt that electronic music was my voice in the group, getting silenced when it got reproduced so I was kinda uninterested. It felt like my mic was turned off.
D: So “Things You Don’t Mean” was put out about a year ago but was the rest of the EP written as far back?
T: Pretty much. It was just kinda a question of life, weird relationships, touring with The Jacksons. Initially, I thought about doing an album and there was enough material for that but when I started talking to people, it made more sense to make a smaller release and have it go that way where I got put out more digestible and consistent releases.
D: What’s awesome with that model you can put out something smaller or more experimental or build out a theme with 4 or 5 tracks without it having to span a whole album.
T: I’m concerned about the flipside of it where the songs that came out for this EP may not have the softer element that the second EP will have, but people will just have to deal with that. If you’re along for the ride, that’s the fun of it. With the new songs, there’s a couple more ballad type ones and I’ve been really interested in artists like Purity Ring
[I mentioned that I had seen them twice last year, much to Tom’s jealousy]
I have Sirius XM in my car and when I realised I had Shazam’d “Fineshrine” four times, I was like I’m just gonna go buy this album right now. I bought it on a Friday night and listened to it 12 times that weekend.
Their stuff is electronic, but not dancey. It’s much slower so I’ve been feeling people are really starting to understand that kinda electronic music that goes outside of 128bpm. I envision Vanity Police as a singer/songwriter project that happens to be electronic. To satiate people who don’t get that, I gotta work on some more dancey things so that’s why it was cool to do this separate thing with Eddie Amador recently and stuff for Tiesto’s label – definitely not stuff I would have done on my own but to be well-rounded, a Reinassance person of anything, you gotta involve yourself in whatever style rears its head. The upcoming thing has some slower stuff, some uptempo dancey stuff, there’s really a pool of material I’m whittling away at. The second EP is written but not produced, and the third EP is pretty much ready to go, but it’s all about scheduling these things and taking your time and making it happen.
D: Have you decided if you’re going to pursue crowd-funding to get these out there?
T: I think it’s a but premature because I think the way to really start is to just give the music away for free and on Bandcamp if people want to pay they can. It’s going to be on iTunes, Amazon, every online store. I’m sorry that some people are going to find out about it on iTunes and maybe later see that it’s actually free. If I could tell everyone I would but on the networks that I’m most connected to I’m going to push people to Bandcamp because I’d rather have a direct communication anyway. I’m getting emails and if people want to donate, they can. I’d much rather engage with everyone on Bandcamp.
[I mentioned the Amanda Palmer TED talk and how she highlighted this idea of a musical community building up around an artist]
For years we knew artists were getting screwed but I think people are beginning to understand how bad that was [with some of the big labels]. It’s taking it away from labels shoving it down people’s throats because there isn’t the PR machine behind things. You really have to support yourself with the music or your live show or whatever it is that you do. It’s not just being overcome by billboards and TV ads and brainwashing people to like something.
D: On that note, I can’t understand how dubstep has been made a thing these days.
T: It’s all about the tempo when you’re out dancing, drunk. It’s very easy for the normal person who can’t dance to bob back and forth. The other thing that it does really well that I’ve kinda become acute to – and maybe in some places became a little too aware of – dubstep is kinda like the perfect answer to ADD. Beyond drums and maybe a couple of atmospheric things, there’s really only one thing going on at a time but it jumps around where it is, so it keeps your attention. In terms of nouveau counterpoint, it’s only one kinda melodic line that just transforms drastically. It’s interesting in the days of media on phones and crappy speakers and weird attention spans, you’ve got your drums and then this one thing – maybe it’s a vocal, maybe it’s a synth – and it’s easy to follow which I think is why it works. I’ve been trying to keep that in mind when I write. If there’s a vocal going, I might not need anything else besides the bed. One thing I’m guilty of is over-writing and dubstep, unfortunately, has reminded me to step back and let the track breathe. I don’t get it either. There’s a couple of people who do it well but a lot of imitators.
D: And the will.i.am’s.
T: No comment.
D: It was such a subculture and subgenre, to see how much it’s infiltrated the whole pop spectrum, it’s crazy. It made me start to feel like I was aging when it took off.
D: When electro was infiltrating music like 7 years ago, I was with it and saw the evolution and I loved it. But dubstep came along and it was like I wasn’t there for it and suddenly it was all around.
T: I know exactly what you mean. It made me really depressed for a while because it made me feel really out of touch and that was another reason why it took a while to do everything – I was very confused with where I stood and my answer to that was seeking out new music again. I was like “Fuck this. I’m not gonna let myself get swept off my feet again unless I really don’t care”. Purity Ring are that kinda new sound that draws from other things I’ve been into this past year. I’ve loved Major Lazer for a while but the new record, I’m really into. “Get Free” is so good. I remember the first time I heard that song it made me nearly tear up.
I’ve been trying to feel connected again by just seeking out new music and in doing that I’ve put away a lot of the more retro bands that I was listening to. Depeche Mode doesn’t really come on as much any more – although their new album is pretty good.
D: I’m actually going to see them in November in Dublin.
T: I’m really excited to see IAMX in a couple of weeks; another artist who I think is just awesome. I’ve always loved IAMX cuz he was an artist who really resonated the industrial scene but was just more alternative electronica. Although I don’t think we sound anything alike, I think what Chris Corner is doing is a similar approach with the way he’s doing his show and the scene he’s involved with. It’s how I need to stay aware as well. He really straddles that line of electronic-alternative.
D: If you were to pick out the dream collaboration, who would it be?
T: M83. That would be fantastic. The live footage I saw from Coachella was just… refreshing and breathtaking and so inspiring. Other people would be Diplo – he’s one of my absolute favourite producers.
The thing with Diplo is that he works with everyone and you can always hear that it’s Diplo but it also never completely fits in a trend. He’s someone that just does his own thing and it comes across that way.
D: And plays to the strength of whatever artist he’s working with.
T: So I’d really love to work with him. Maybe more than anyone else.
D: So what’s the most obscure act you’re listening to at the moment?
T: Hmm I don’t think White Lies are that obscure? I have a hard time gauging what obscurity is given that I live in obscurity in my mind. Matthew Dear – that’s someone up there with Diplo. I kinda think of him as Nine Inch Nails for the person who’s grown up and stopped being angry. He just produced Tiga’s last single ‘Plush’. He has a very dark techno feel that’s very singer songwriter, kinda you-and-me thing. Lyrically everything comes back to a you-and-me thing right now. His lyrics, music, it’s very hypnotic. He’s a bit more sub-culture.
D: Do you know Crystal Castles?
T: Yeah. Obviously I’d love to collaborate with them but that’s a band I’d love to tour with. It seems like that would make a lot of sense.
D: That period in 2006, 2007 when electro/nu rave was the big thing, I remember seeing them, CSS and Klaxons and that was like the high point for me.
T: Vitalic wouldn’t really be nu rave, right? They’d probably be more in the dance/DJ culture. Them and Simian Mobile Disco are artists that continue to inspire me. Although they’re doing dance/DJ stuff which, for that reason, is connected to trends, I’ve kinda ignored them to an extent. Like Vitalic had a new record recently and it’s very true to what it is – some tracks sound like the last Vitalic record – but it’s a continuation without being a stagnation.
D: I was in San Francisco on Friday and saw Little Boots.
T: I used to love her. Does she have a new record coming out?
D: Yeah. She worked with Simian Mobile Disco, Hercules and Love Affair. It’s totally that progression –
T: – without it being a slap in the face.
[Tom preorders the Little Boots album]
D: One thing I’m very guilty of is when I find a track I like is digging to find out who’s the producer, who’s the writer, what else have they worked on…
T: It’s so funny- back in the day there was way more mystery. Back in the day, you’d have to look it up in a library or you’d have to buy the CD just to read the credits and now you go on Wikipedia and you have this tree. It’s interesting because it makes everything way more relatable because the air of secrecy is just dissipated – I don’t think it’s good or bad, it just is what it is. Now we just digest records differently.
D: Even with the subcultures and sub-genres, if you find something that hits a chord with you, you can continue to explore that in a much easier way. Some genres are aided so much by the internet.
T: It’s funny that you say that because that’s how I found industrial music in the first place. I was listening to Nine Inch Nails and a friend of mine in high school told me about his brother’s industrial band, Chemlab, and I loved them.
I remember I won this Peter Murphy CD because I did this karaoke thing. This was like some festival when I was 17 and- do you remember Audiogalaxy? [a reference for those who are too young to recall] That was the shit! And that almost ran the way Wikipedia does now because it connected people. I looked up Peter Murphy and then Bauhaus and then a whole load of more modern things and that’s how I finally came to discover industrial music which, in retrospect, maybe I’ve spent too much time in. But it’s a testament to how the Internet facilitated exploration and that was the first time I really became aware of how musical information was restricted by clear channel and where you lived.
I remember I was on this direct fan marketing thing where they would send you music and have you review it for them. They sent me three artists to check out and Maroon 5 was one of them, right when they started. I was in my own world and super into my own weirdo electronica stuff, remix culture, industrial stuff, and I wrote this scathing email back saying ‘this is so shallow, you just sent me three bands which all sound almost identical. Where are we forging new ground?’, I sent this huge email to them from which I never heard back. It’s so funny- that was 10 years ago and there’s no need to write that email now because everything is there. It’s difficult because there’s SO much there. Even just growing up in Washington DC, there was a local music scene and there’s certain bands that you would see open just because those were the bands. You had more of a connection to what was around you because you had to go out and find it instead of virtually experiencing what is all around you. It’s a two-sided thing.
D: I’ve seen it even in what gigs myself and friends of mine go to. 5 years ago, I saw more uniformity in my circle of friends and the kinda stuff we went to see. Now, because each of us has been able to go way more niche in what we like, it’s like I have this friend for this genre and this friend for this other genre. It’s not that big collective enjoyment as much.
T: For me, all my best concert experiences have been when I didn’t know who the artist was and so I’ve been really trying to get back to a mantra of ‘without pretence’. All the artists that I saw in college that I’d been listening to and had a certain level of expectation, were pretty much all disappointments. But all the times I might have seen the opener, who you expect to be shit – do you know a band Ours? They’ve been around for a while, had a song in Zero Dark Thirty. But I happened to see him open for Pete Yorn back in the day and it was this really dark, weird almost Radiohead-meets-Jeff-Buckley with the angst of Trent Reznor and it was so cool not knowing anything about the artist and just experiencing that. There was no pretence for me to judge it so I just experienced it as it was. Now whenever someone invites me to a show and I can go, I always say yes because that’s when the magic happens.
D: For Depeche Mode, for example, I’m trying to keep my expectations low because they have such a catalogue, I know I’m not gonna get my dream setlist. There’s always gonna be “that song” or “that album track” that I would love to see live, but I’m not going to.
T: Depeche Mode are great but they’re too big and what they do live is a bit too like they’re all on their own little spaceships. For me the pinnacle of live performance is the Nine Inch Nails Fragility DVD. That is action and aggression and raw energy on stage combusting non-stop, with vulnerability. Depeche Mode is a little more reserved, a bit too much of a production for me.
What’s great about them is that they were responsible for so much- not even electronic but alternative music because they had a different sound on every record but never lost their identity. People might lose sight of that now but they’re on the exact same trajectory. A lot of the people who maybe weren’t on board for Exciter probably weren’t relevant with what was going on in the electronic or alternative music at the time and were looking for the rehash of what they knew. It’s not about appeasing those people – they’ll come to the shows or not.
D: If you can stylistically change but keep that sense of genuineness is key, not that you’re pursuing a new genre because everyone else is doing it. I see that as like ‘The Madonna Direction’ – putting out an album like Hard Candy because everyone is working with Timbaland, for example.
T: I love Madonna when she’s good and I just couldn’t do Hard Candy. Like I loved Confessions On A Dancefloor and that was totally a product of what was going on but she was with the right people. Hard Candy felt forced.
D: That’s what I like about Depeche Mode because they’ve explored with this other stuff but it still feels like it’s them.
T: I think that’s what I learned over time – your voice is always gonna be your voice and as much as you’re in your own head and you think it sounds too much like this. Everyone is going to experience it as ‘you’ so just do it. With artists who have admittedly ripped off stuff, as long as they do it their way nobody really gives a crap. That’s not to say the songs off the record are plagiarised but you need to do your own thing and not get hung up on all the other things because that’s what brings the voice through.
D: And what about the visual element to go with your music? Any more music videos planned?
T: One thing I wanna do is a video for every song. Every song that comes out- I use the term single but it’s about if the audience wants it to be a single these days. I’ll be doing a video for the song Siren Call on the 18th [photos from the shoot here and here] and then 2 more videos, I wanna space them out.
D: Who are the kids in the Hey Loser video? I saw you shared a surname with them
T: They’re my cousins! I shot that in New York right after New Year’s. We did that video in a day and one thing for me that I try to keep in mind with anyone I work with is ‘what is Vanity Police 2013?’. I don’t want to be like this needs to be like such and such from before cuz everything is a product of when it is. Let’s do it, let’s be us and let’s do it now. The other big thing is contrast. There’s no reason for me to get all made up and sing it and be all sultry so I really wanted to offset it so that it was more digestible to everyone. So maybe if you don’t love Nine Inch Nails and IAMX, you’ll hear the song for what it is because it’s presented in a lighter fashion. I really try and stay aware of contrast in what I do.
D: Thinking back to the first time I heard the song and my expectations, the video that you made was not what I ever would have imagined. With the massive amounts of content that’s out there, when you can surprise the audience a bit more, it stands out.
T: I want it to be that kind of pleasant shock. I hate it when you listen to a dance track and you know where the song is going in two minutes. We need to have those pleasant surprises – almost like seeing the band and all you know is the name and your friend is taking you.
The next video is probably going to be a little less of the deliberate contrast. We’re shooting in this place called the Salton Sea which is this really high salinity, content of the desert place where the water levels are constantly dropping and it’s really desolate. It should make for a really cool looking video.
D: And will you be featuring in that yourself?
T: Yes! I will be in that one. One of the reasons Hey Loser happened that way was I wanted to do it so quickly and didn’t want to have to deal with syncing up stuff and playback. It was so easy to do because it was this weird narrative that kinda ties to the song and we just got the shots and that was it. So yes I’ll be in this video, like I was in the first [Things You Don’t Mean] video.
But yeah my cousins had a blast doing it. I have other cousins now who are gonna be pestering me for future stuff now.
D: So what are the promo plans over the next while?
T: One thing we didn’t really talk about – I’ve been really pushing Chris Cox to get his original stuff out. He’s been doing remix stuff his whole career and has all these ideas. There’s been talk about a label and we’re gonna get some PR stuff going through that but really it’s mostly gonna be the videos, word of mouth, music blogs and super grassroots and bringing back that direct connection. When you try and plan everything out it pushes everything back. And that’s kinda why it took so long for the EP to come out.
D: But if you’re doing promotion by the book and it doesn’t work out, that’s bound to be frustrating. If you’re letting it grow out organically and you’re seeing results, that’s gonna more rewarding
T: There’s not a huge masterplan – really just video content and then a live podcast [check out PigzRadio here] and I’m gonna prepare a live version of Hey Loser – I’ve gotta work that out today – and trying to get more events. That’s where the side of promotion has to be – selling it on the live platform. I’m still figuring out how I wanna put that across because I’m kinda over the band paradigm. Back to Purity Ring, they’re a great example of electronic music that doesn’t fall into a traditional live presentation context. I think Vanity Police needs to work on the DJ side of things but it’s not always DJ so I’m trying to figure out how that’s gonna happen. I’m gonna have to mix the paints and throw em on the wall and see what happens. People are either along for the ride or they’re not! It’s as much of an experiment as it is anything else.