Badresa talks with Hanalei
Brian Moss is one of the rapidly rising stars of the Chicago music scene. His rock band, The Ghost, has become one of the most recognizable punk bands in the city and their second album, This Pen Is Weapon, came out earlier this summer. As if that wasn't enough, in September, Brian's solo project, Hanalei, releases it's debut album, We Are All Natural Disasters for Thick. Badresa talks to Brian about the upcoming album, punk rock in Chicago, and politics. Conducted via e-mail with Mark Oster.
Badresa: Let's start simple, where does the name Hanalei come from?
Brian Moss: The name Hanalei stems from a town on the North Shore of the island of Kauai. As a kid I spent a lot of time there during summers. My mom worked for the school district so she'd save her money and with her time off in between school years we'd travel a lot. The town and Island are utopian to say the least.
Badresa: What I've heard from Hanalei is very unique, and definately very different from where you're coming from with the Ghost. Can you tell me what songwriters inspire you?
BM: Shamefully, I'm not that well educated in the genre's of folk and country. I work with what I know and blend it into my experience with punk songwriting. The classics of course have their parts: Cat Stevens, Bob Dylan, Hank Williams Sr., Simon & Garfunkel, Patsy Cline, etc. Some of the more modern contemporary artists such as Silver Jews, The Weakerthans, Wilco, and Pavement also have their parts in my trickle down listening habits. All in all I frequently take a lot of my influences as a fan of punk and indie music and structure it out in a simpler format. Sometimes it works out, and sometimes it doesn't. I still need quite a bit of schooling.
Badresa: When did you start working on Hanalei? What motivated you to start it?
BM: I started in the Fall of 2002. I'd had a desire to work on a minimalistic, stripped-down project for quite some time and finally I started putting some stuff together. Simplicity, both lyrically and musically, was something I hadn't explored in a while. Being someone who avidly listens to both loud and quiet music I felt a need to represent that as someone who creates music. Also, the freedom of doing everything by myself without other people to depend on or disagree with was a bit of a turn on for me. The whole thing started very casually and slowly evolved into something I've grown with, amd now put a lot of focus into.
Badresa: Unfortunately, We Are All Natural Disasters isn't out yet, so I can't really ask specific questions about it, but is there a specific theme to it? What are you writing about?
BM: There isn't a theme to the record. However, the title itself sums up a lot of the subject material. Lyrically speaking, the songs on the record are an attempt at creating a reflection of the human condition through both negative and positive personal experiences and observations. Song for song the topics switch off drastically. The American apocalypse, falsified romantic ideals, social awkwardness, desperation, travel, love, and lost friendships are all par for the course.
Badresa: The Ghost is far from a dormant band right now, just releasing the strong sophomore effort "This Pen is a Weapon". Do you have a rule of thumb as far as making time for both projects (writing, performing, recording, etc.) without one interfering too badly with the other? In other words...where the hell do you find the time? Is there a difference in mindset when you're writing for your solo project and when you're writing for your band?
BM: I figure if I have the time to sit down with a couple friends over beers every night, or wake up around 11AM everyday then I'm far from too busy. In all honesty, I wish my musical endeavors took up more of my time. The Ghost hasn't really been doing much lately. We burned ourselves out on the road this past winter and made a pact to not embark on any headlining tours for the time being. With a mellow spring and summer I've been able to put a lot more effort into the Hanalei stuff. My working habits come in manic spurts. Sometimes I won't write a song for four months and sometimes I'll write four in one month. It's an off and on thing and I generally don't try to force it. As far as my mindstate is concerned, at this point I'd say that between the Ghost and Hanalei a difference has developed. With a solo project limitations and realism have to be heavily considered. On the full length I was able to layer guitars, play bass, and incorporate some live drums (thanks to Lance Reynolds). However, when I initially write the material I have to take in the fact that the material has to sound good within the confines of one guitar and some backing beats. Second, with Hanalei I've tried to be more lyrically direct and simplisitic with themes and style. Currently, I'm in a bit of a writers rut so I have plenty of time to give you these lengthy responses.
Badresa: How did you wind up working with Thick for Hanalei?
BM: Initially I approached Zak and Billy in the winter of 2003 with my first demo. Both of the fellows liked it, but they didn't feel it was an appropriate addition to their catologue at the time being. A year later, after plans with Eyeball Records fizzled out, I re-approached the label with a why the fuck not? type of mentality. To my suprise Zak decided to put it out and two months later I was in the studio. Six days after that I was eating Caviar with Kirsten Dunst on a private charter jet en route to Milan. The rest? The rest is history.
Badresa: In the Winter of 2001/2002, The Ghost relocated from California to Chicago. What drew you here?
BM: The warm weather and bikini clad blondes.
In all seriousness, I had some close friends in town, the Bay Area was unaffordable, and a few of us needed a change of place, and it
seemed like the music community was bustling. Long before I moved I kind of had a hunch I'd end up here. After my first afternoon visiting the city I was hooked. Frank Sinatra said it best, you can quote
him.
Badresa: You recorded We Are All Natural Disasters with Lance Reynolds, who's recorded some of Chicago's most important punk bands (Naked Raygun, Braid, etc.), what was it like working with him?
BM: Working with Lance was wonderful. He's a talented and easy going lad, which makes for a comfortable and productive recording situation. Being relaxed in the studio is a very important factor when it comes to my personal stylings. Lance and I worked as friends, which made me feel both comfortable and inspired. His hypochondria was sometimes overwhelming but we worked through it.
Badresa: Chicago has one of the most prolific and highest quality post whatever (punk, hardcore) scenes in the country, however, it has not really been embraced by the younger elements of the punk community, which is ultimately any punk band's lifeblood. I was particularly taken aback this past weekend when attending an all ages show at the Fireside with you guys, Challenger, Blackprint and Sleepwalker Defense, as fine a punk bill as you'll find out here, but there wasn't an individual under the age of 21 to be seen. Where hardcore and pop punk bands in Chicago seem to thrive easily with the youngsters, why do you think bands like these, which combine the best elements of both, have such a hard time keeping the attention of the younger music scene in the city? Does this bother you much?
BM: Funny you mention it because I generally think that the Ghost has a fairly young fanbase. I think the particular show your talking about lacked in grommets because of its late door time. As per your question, young kids have short attention spans. Most of them will look back ten years from now and shake their heads at punk rock, labeling it off as a phase. In that sense, examine all of the huge pop-punk, fashion-based, emo, boy-band, whatever you will type of bands that explode with a market based on kids. They are commodified and forgotten about. Both the industry and a lot of the people involved with trend centered musical or social uprisings are founded on an 'in and out' mentality. While playing for people my own age is awesome and relative to my current place, I feel that it's equally important to play for young folks in hopes of helping them, or at least getting them involved with punk on a long term basis.
Badresa: Politically, like most members of the punk community, you have been very outspoken against George Bush. What do you think of John Kerry, and, if I may be so bold, will you be supporting him in November?
BM: I'll be supporting him although by no means do I think he is anything worth clapping about. Shit and diaherrea my friend, and although they're both pretty similar, the stink that G.W. has raised is unbearably foul and worth eliminating at all costs. I registered Green at 18, but in a case like this, the big picture must be considered.
Badresa: On that note, what do you think about Richard Daley?
BM: I'm much more educated on national politics than I am on a city based politics. From what I understand and what I've seen regarding Daley, I'm not a fan. However, I'd be reluctant to say much because I honestly don't know much. Then again, most politicans are seedy, but mostly everyone knows that.
Badresa: Okay, enough of that, back to music. What's your favorite place to play in this city with the Ghost? How about Hanalei?
BM: The Ghost: Fireside Bowl, hands down. Hanalei: Schubas for the sound and relaxed atmosphere, but Fireside for kicks.
Badresa: Finally, in an ideal world, ten years from now, where do you see your musical career taking you, with the Ghost and Hanalei?
BM: I'd like to keep playing for my entire life. I'd also like to teach English or open up an all ages venue. Writing don't seem too bad neither. I've got some pokers in the fire, we'll see what I can burn. Generally, I'd like to think that whatever I do the undercurrent of it would be humanitarian-based.
We Are All Natural Disasters will be available everywhere on September 7th. This Pen Is A Weapon is already out. If you were a good person, you would buy them both. Thanks to Brian for taking the time for us, and to Billy Spunke and Thick for setting this up. -MO