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Review+ Q&A: Moon Goose- La Nuit (2022, Fruits De Mer Records/Inflatable Tarmac Records)

Sometimes it’s best not to overthink or over analyze things. Reading back my questions and the answers for the interview with UK’s space rock quintet Moon Goose I realized that what they expressed in words exactly covered what they are about; five guys creating music in the moment, taking it the way it comes in the moment. Not taking themselves too seriously, but definitely giving room for the free creative process. Anything they might think or say more about it is pretty moot, really. That does not mean it is less valuable or interesting as an art form though.

And it does not mean the listener cannot have their own thoughts. On the contrary, their new album La Nuit is filled to the brim with all kinds of crazy ideas and side paths that will make your brain do loopings and somersaults trying to stay on track of what is happening. Because with Moon Goose anything goes, within the domain of their -mostly- instrumental space rock psycho debauchery, that is.

Whether it is the soundtrack to understanding the inner feelings of future sex robots, being cursed by a lemon, or “a vicar’s brain being fried by the light”, Moon Goose will take you through it on this weird psychedelic journey. And when the final notes of Great Halls Of Broken Tools have sounded…you will hit the repeat button and take the ride again.

Moon Goose Dave handled the answering duties today, and as it appears these space rock Britons are just as as wacky in their daily lives as in their music businesses….

Hey Moon Goose! How is everything on your side of the globe?

Hello Weirdo Shrine! Literally everything is perfect on our side of the globe. No surprise really, once you know about the underlying geology in this part of the world. (It’s mostly Devonian-era Old Red Sandstone.)

Can you kindly introduce your band to the Weirdo Shrine audience?

We are five humans who use electricity, food and some other inputs to create noises which have the capacity to make people dance. 

What are your musical backgrounds?

Our musical backgrounds represent a clashing and infinite mix of styles ranging from Ennio Morricone to Jah Wobble via the sound of urban frogs in a storm drain on a humid Nairobi evening. 

Where do you live, and how would you say that influences your music?

Well the sandstone obviously influences everything else, including the heavy clay soil which supports a quixotic range of crops that can tolerate the waterlogged soil here in the in-between-space where England meets Wales. Overlay that biological reality with the tribal back-and-forth that characterizes life here as well as in the borderlands in every part of Earth and you will have a good understanding of the shifting identity, ruined castles, and potatoes that underpin our music. 

What does an average day look like for a Moon Goose cult member?

If we’re not riding the mile-high circular monorail that sketches the boundary of the entire bioregion, we are often to be found using our heads to roll gym balls up scree. 

What does it look like when you are writing music?

It looks like the feeling you get when you rediscover a half-eaten bag of crisps lying on precisely the windowsill you would have imagined it to be lying on, had you taken the proper time to think about it. 

Where do you gather your inspiration?

Inspiration-gathering is too active a description. Inspiration emerges when we play together in our barn. We inspire each other and the place we play adds its extra quality. Someone starts playing nothing in particular, someone else joins in, there’s a vibe or not, we remember it or not. Most if not all of our best stuff we’ve only ever played once when inspiration has crept up on us, and then we have failed to recapture it. If that sounds too fragile, don’t worry. 

What is “the dream” for Moon Goose as a band?

The dream is probably the ability to get somewhere close, on a record, to how we sound in the barn where we rehearse, on a night when the moon is shining and we are in flow. This would probably require spending several days and nights in the recording studio with our sound engineer Ryan and our producer Leon, maybe along with a pile of cheap garish cakes, and the more exhausted and delirious things became, the closer we would get to that precious barn vibe. 

What are you most looking forward to in the immediate future?

Realising our dream.

What should the Weirdo Shrine reader do immediately after reading this interview?

Feel loved. 

Interview: “Komet” Lulu Neudeck (Electric Moon, Worst Bassist Records)

A young Lulu (from her Bandcamp page)

Whether you know her as a cult hero on bass guitar for Electric Moon, a super friendly and generous distributor of vinyl through her Worst Bassist Label, or as a witchy cat lady living in a backwater woods area in Germany, you cannot have anything but the sincerest sympathy for Lulu -Komet- Neudeck. Since it is October 12 and International Hug a Bassist Day, I felt it was high time to honor her with a chat and some well deserved attention for her impressive contribution to the international psychedelic scene. Luckily, she felt the same way! So here we go:

Nice to finally do this interview with you! How are you these days?
Hi Jasper. Thanks a lot for taking your time for sending me some questions.
I am a bit puzzled by the circumstances. Having started my label right before the pandemic
kicked in, was a challenge for itself, that whole situation on the world doesn’t make it better. I have no new release in the pressing plant right now yet, so this means around 12 months
without a release… So I will have to check more artwork commissions to have a slight
stream of income. But it is important to see everything in relation again and again and to remind oneself that having something to eat and not facing a gun is luxury…. So all in all, I am fine, thank you, how are you?

First of all: can you introduce yourself, your music, your label, and your cat(s)? –insert
cute cat pictures here–

Yeah, hi, I am Lulu, nice to meet you 🙂 I am founder and bassist of the band Electric Moon, played bass in Zone Six for 11 years, graphic designed for both too and have founded a little independent label named Worst Bassist Records few years ago, of which my tomcat Johnny is the boss. Since some weeks, we have a new trainee-cat in the house, who learns quickly I must say. Since 2002 I do artworks as Lulu Artwork, commission paintings, logos, record covers, concert posters etc… The past 2 years I was diving into this a lot more again.

Johnny the Cat

How has the past pandemic period been for you as a musician? Did you see upsides next
to the downsides?

Yeah, all in all we all know the basic effects of the pandemic on musicians, so I won’t repeat those. But yeah, good question, and yes, there are indeed upsides! At least from my point of view… Times of lockdown forced ourselves to view the insides and I embraced that and took it as a possibility to get to know myself on a much deeper level. We always think we absolutely know ourselves, but spotting some blind spots can be very illuminating….


I enjoyed being a lot on my own, embracing the calmness of this state, create…The financial aspect is a total ruin but somehow it always goes on and on. I also learned to be more relaxed with that and to live more in the moment! Also, relationships changed and some improved, some fell away and that’s fine! Some connections even got deeper due to distance…Sounds weird first, but might make sense…

And how about for you as a graphic artist and label owner?
Well, same as above. For the label, it was and is still a hard challenge. But especially for visual artworks, it was kind of a blessing! It so much fired my creativity and changed my point of view to things. My sight changed. I saw art everywhere. In everything. Everything was kind of inspiring my view, my imagination, my senses, my thoughts…

Can you tell me what made you start the label two years ago?
In 2018, my collaboration with Sulatron Records as graphic designer, business consultant and trend spotter ended, so I needed a new job. I thought about what I can do and I thought, well, I worked with a label the past 10 years, which releases a band I am playing in – why not starting my own label and also release a band I am playing in? 😀 I needed an income and I did not want to go to government and ask for social system money. So I gave it a try and the 1st release started off well.

What does a regular “Lulu day” look like? And what does an awesome “Lulu day” look
like?
Hehe… A regular Lulu day looks like:
I get out of bed quite early in the morning, to have some free time before busting out my work mode… So I get up and cook coffee, feed the cats, sit there, meditate, drink coffee and get awake slowly. This needs time. Later on I check my schedule and start to work on it.
If a fresh release is here, I pack parcels the whole day. Coming to an end of my working day, I do my bookkeeping so that everything is always well prepared for quarterly tax work which I do on my own. In between all that of course, I have 2 hours of break to calm down nerves, muscles and brain, feed the cats again, cook coffee, cook some meal etc…At the end of the day, I take a longer walk to complete work and get rid of the work atmo in
my living space! I love my flexible schedule, so when I am not able to sleep at night, I can work on it either way and take a day off after such a night.


Where we come to a great Lulu day. A great Lulu day can be both, a very, very productive or
a very lazy selfcare day. A great Lulu day starts off with waking up somehow inspired and realizing, not so much physical pain is there right away. Having chronically lyme disease since almost a decade, sometimes fucks my system so hard, so a great day starts off with less pain and therefore more space for good stuff. After realizing my blessing, I cook coffee, take a walk in the morning sun and work a bit but mostly then on artworks, cause I feel so inspired then and happy. Sometimes, a great day also starts after a night I was painting the whole night and feel totally smashed but blissful. The great Lulu day often ends late at night, cause I have such a force of energy and drive on a great Lulu day, that I sometimes overwhelm myself with that, lol.

Where do you live and how does it affect your art and music?
I (yet) live in a very old house in the middle of nowhere in northern Hessonia in Germany. It is
the area where I lived in my early youth also and it’s not far from my dad’s house.
It affects my living as an artist / musician of course, surrounded by nature and the stillness at night… But I have to move out by the end of the year and this is a bit of a struggle right now, as it’s very hard to find something to live in this insane situation at the moment!

Art by Lulu

Tell me about your best memories with Electric Moon so far!
Wow, this is a difficult thing, not cause there are none, but as there are SOOOO many that
as soon as I wanna pick out some, I overtake myself in the brain, haha. Of course, the traveling in general when we have been on tour. It was always a blast, yet very exhausting, but also very inspiring and always a change of perspective, which keeps the mind on the move…


Some particular awesome moments have been on stage, where we all were so connected
and caught by the happening magic, that we all were looking at each other at the same
second, realizing what was happening there and feeling out of breath by that stunning
feeling of getting played by the music not playing it. Weird and intense and magical.
Also, I will never forget our 2 weeks Italy tour back then in 2013, where we traveled down to
south Sardegna, and when we played there in a little ancient town near a old spring with hot
sulfuric water etc…The night after the concert, we went to our sleeping place, which was a super old building, a small school. We arrived and there were some benches with trees around them, so we sat down and heard around hundreds of nightingales singing. When we went up to finally go to sleep, they all flew away which was a mesmerizing, sublime, and stunning moment. Never saw or heard SO many of them on the same spot…..


Or our residency in Tunisia where we stayed around 10 days with several bands, making
music together and hanging together and then, at the end of that, playing a festival where
you could hear a common influence on every band from every band. That was ace! It was in the middle of nowhere about 2 car hours from Tunis away, in an ancient area where an artist had built a cave for his artworks, kind of a showroom. There were so many weird, special and intense trips that I’ll never forget and am grateful for, having experienced them together. They’ll be locked in my heart for my lifetime. And, curious about what to come in the future….

What was your musical background before playing in Electric Moon? What and who made
you pick up that bass?

Mark Sandman of Morphine was the reason why I wanted to play the bass since I was a
teenager. But I learned Saxophone first, also because of them, haha. I have a total different musical background than you might think considering the sound Electric Moon had from the start. Of course, the “ol’ classics” are also in my background, like all that Pink Floyd stuff and so, from my dad. But also, I love electronic music, trip hop, punk, indie and am a huge, huge fan of Jason Molina / Songs Ohia…Also bands like Shellac and God Machine have been a huge influence to me.

Art by Lulu

What are you most looking forward to in the near future? And what would be a dream
goal for the longer term future?

I am most looking forward to finding a super nice place to live with my boss and his trainee, haha, sound like a old cat lady witch, but it might not be the worst (bassist lol). No, really, this is something I visualize every time I think about it and try to manifest it somehow. It is as it is, and what will be will be, is a good state of mind. What does not mean that nothing is a matter of interest to you, it just means to relax the tangling mind a bit more into the present moment…A dream goal for the longer future would be living near the northern sea. I have loved it since I was a kid. And I like the people in the north. Also, a more topic related dream goal would be making music with people like Emma Ruth Rundle

What is something that people should stop doing in your opinion?
Complaining less about others and checking in more on themselves might be a good start
:-D. Also, I think we all should feel more gratitude and should remember, that we’re a family here on this ball of rock, lava and other masses, floating through space, not knowing what would happen. I am not a fan of thinking about other people too much, so in my world, they’re free. But one thing, yeah, we all should stop, is this victim mentality position in which we put ourselves automatically, while complaining about others….

What should the Weirdo Shrine readers do after reading this interview?
Make love :))))

Review + Q&A: Mythic Sunship- Light/Flux (2022, Tee Pee Records)

Wouldn’t it be perfect bliss to be able to attend a bunch of jam sessions of your favorite artists, just to be there when they improvise and anticipate their artistic similarities and differences? Perhaps to sit in the middle of the room, on a big comfortable carpet, with the drums on the far side of the room, the guitars and bass all around and a saxophonist walking through it all and filling the space with its euphoric tones when the time is right? Well, Mythic Sunship from Denmark know all about you and your inner longings. With Light/Flux they have released their tenth release in ten years (!) showing their listeners that they have absolutely no problem inviting them to their most intimate jam sessions and revel in their creativity and virtuosity.

The band themselves have told me that with each release so far they have implemented a bit more structure and organization, and so Light/Flux is probably their tightest and most balanced record to date, but you can hear that this band has played together for a long time, and that improv and jams are deep ingrained in their cumulative DNA. The result is once more a terrific jazzy, fuzzy, post rock, post stoner, post whatever session that will appeal to musicians, heads, and musical omnivores alike. The sheer joy of creation and general flow is something that Mythic Sunship excel at, bringing them up to great heights with bar none to rival them at their game at this moment in time.

So if you feel like getting a bit lost, have a seat on Mythic Sunship’s carpet and be present to a wonderful jam, and then another one, and another one, through Blood Moon and Decomposition, past Tempest and ending at First Frost. In this hectic and turbulent world, it is a great joy that we have this band to rely on for their yearly output. So let’s celebrate.

For a band without a vocalist and lyrics it is always the question whether they even like to explain themselves and not let the music do the talking. Luckily I found drummer Frederik Dennen and bassist Rasmus Christensen in a talkative mood, and all my inner questions were quite elegantly answered…

Hi guys! How have you been since the last – and awesome – album Wildfire?

Rasmus: Not too bad, thanks! We finally got to go on tour and play live around Europe again. And now we’re about to release some of the music we’ve worked the hardest on ever – feels good!

Can you give us an insight into a regular day in the life of Mythic Sunship? Do you meet and jam very often? Do you live close by?

Rasmus: We all live in Copenhagen, so we see each other regularly and are close to daily in touch about band stuff. But we all have jobs etc. to take care of, so mostly we meet up once a week to jam or rehearse for the next concert or recording session.

Was there a difference in approach this time when you wrote and recorded Light/Flux?

Frederik: Yes, we have worked more with harmonies, melodies and composition in general. Improvisation is still an essential tool, but we have intentionally worked a bit more structured with this record. Something that I expect will be even more prevalent in our approach going forward.

The last two albums had the same artist doing the artwork, right? How did he pick/create the images to your music?

Rasmus: Tobias Holmbeck, who did the artwork, has his very own distinct aesthetics and works quite conceptually with a few signature techniques. So this current album  trilogy seemed like the perfect opportunity to work with him and get a consistent look for the three albums. We sent him the music as soon as we had it mixed for him to make his own impressions. Then we gave him the titles along with a few words on the vibe and feel we put into the music and finally suggestions for a color palette. ‘Light/Flux’ is — as it clearly shows — our white and blue album.

How much of Light/Flux is improvisation?

Rasmus: As Frederik said, ‘Light/Flux’ is more composed or premeditated than our previous albums, but it’s still mostly improvised. That’s still the core of our working method and has been since the beginning.

How does a band like yours get so good at improvisation? I play in a band myself, but we never seem to be able to completely let go of songwriter structures… What’s the secret?

Frederik: I think the two most important factors are to play a lot and to not be afraid to fail. When you suck, keep at it, and figure out what worked in the jam. It’s also really important to back up other people’s ideas even if you don’t like them (the ideas I mean). For example, maybe your guitarist plays a riff in the middle of a jam, and you don’t really feel it. Well, try to just back him/her up instead of forcing the jam in the opposite direction. Once people start feeling safe to take chances in your jams, you’ll be able to walk on new/original ground rather than chuggin’ up the same ol’ stoner riffs or psych vibes. It’s also incredibly important to stay curious in your approach to music — to us it is at least. If all you listen to is Black Sabbath and Sleep, guess how your jams are going to sound… We actively try to bring elements from all corners of music into our music, and when we listen to music in the tour van, we listen to Beyonce, Willie Nelson, Diana Ross, Mastodon and lots of other stuff in between. Musical arrogance or narrowmindedness is holding a lot of bands back from creating anything of relevance.

Rasmus: I guess the more different kinds of inspirations you bring to an improvisational setting, the more exploratory that improvisation will be. And exploration is a driving force in improvisation, for us at least.

Who were/are your improvisation inspirations? And which band is currently best at it do you think?

Frederik: Again, I think it’s been important for us to draw from anyone that improvises, whether it’s Ash Ra Tempel, John Coltrane or Earthless.

Rasmus: I’m very much inspired by the local scene here in Copenhagen. Going to concerts is for me the best way to get inspired, and there are some great players here.

You have been an instrumental band for quite a while, was there ever a time you considered working together with a vocalist? And if you could pick any vocalist, who would you work with?

Frederik: We have never ever considered implementing vocals. Now, ten years in, is the first time that we are starting to think about maybe, someday

Rasmus: But what would we write songs about? Who would write them? I can’t imagine. I guess I’d be open to the idea of someone vocalizing, but actual songs with lyrics, I don’t hear that for our kind of music.

What are your short term goals as a band? And what is your ultimate goal?

Frederik: Short term, we are looking to make some new music, and work even more with our approach. It’s been quite a while since we were in the studio (ironic, since we’re releasing new music right now), and we definitely look forward to start creating again.

Rasmus: Ultimately to make music that people listen to in 20, 30, maybe even 50 years.

What should the Weirdo Shrine readers do after reading this interview?

Rasmus: Listen to that voice deep inside you, that tells you what to do… really listen… and if it tells you to buy our new album, obey!

Jeff Gburek- Vigilance Suite I&II (2022, Ramble Records)

I could have written a long and winding piece about why you should listen to Jeff Gburek’s new double album of fantastic accoustic guitar noodlings, but I won’t because he is perfectly capable of doing that himself. I will grant him my Weirdo Shrine podium though, as the cause and muse of his work is a noble one, and of course because the music in its context is very worthy of your time. Here is what Jeff wrote on his Bandcamp about it:

Music played privately at home doesn’t count as much as humanitarian aid, on the ground, where events are scattering lives — but making these tracks was one of the ways I began to weather the storm, when one of my homelands went under military siege.

It was over a century ago my ancestors on my mother’s side left regions within and near Ukraine to come to the USA, perhaps as refugees of some similar conflict. Vigilance Suites were recorded on February 24, 25 and February 28 and March 1, 2022. I used a slightly drop-tuned acoustic guitar in open D tuning, zither, e-bow various preparations over the course of time to represent shifts of mood and transformations of mind.

The colorful rag doll depicted on the CD disc is called a Motanka. I bought it in a market in Lviv, Ukraine in 2015. It reminded me of Hopi Kachinas, Voodoo figurines and Roma magic-spell fetishes. Motanki are hand-made, using scraps of cloth or discarded clothing of relatives.The use of needles, scissors or machines, is forbidden. Motanka is a composition of energy and substances inside can be coins, herbs, grain, intentionally charged. They are house-guardians and they represent the healing properties of plants, seasonal and nature spirits. The cross on the face represents the sun. Motanki links us back to the ancient Pagan and animist cultures of the people who live in the Transcarpathian regions.The Motanka set upon the background of the traditional pattern of head scarf from Ukraine represents the folk culture of the people.

This music, born out of the time of reflection, waiting for news, perhaps carries the hopes, fears, perhaps within its imagery some of the brokenness being transmuted into sound, as struggling distant friends endure these trials, these ups and downs, the outrage and the sense of rebound, the sense of loss, displacement, bewilderment.


Many thanks to Michael Sill (Ramble Records-ed) for offering to release these works.

War is the polar opposite of vitamin D, low in nutritional value, hard on the eyes, even at a distance, the kids look like they will start smoking at an early age. Do we have leaders or bleeders? I don’t really want to go anywhere. Can the volume of gunpowder be lower. My thoughts about it remain maladjusted. Perhaps I am slightly more sane when asleep. It’s getting more difficult to write letters starting out of with how are you or what’s up. First you whistle then you duck. People stop on the bridge. People are looking at one another with eyes asking from where do you come.


Only now has ceased to exist. Retinal linkages acknowledge infinite regressive passage over this scroll of enzyme-grammar. It would be easier to survive as a simpler form of life. It is too much to deal with here. Unless it ends, soon, suddenly. All those children of the bloodlands wandering now as living ghosts, perfect mirror, for I, who lived as a shadow all these years, no I at all, just outline, a man sunken somewhere behind the shade.

There are no large bottles of water in the supermarket. The whole half-aisle where they keep bottled water is an empty palette ghost town. Something starts to snap. Inside. Many new faces in the streets. I couldn’t find AA batteries. Sudden sense of confusion and the voice inside says you don’t need any batteries.

Indeed, I did buy 3 extra sets a few days ago but now not being able to see any where they used to be starts to bother me. Like somebody cut down a tree whose shade you once enjoyed or whose strength and tenacity you admired. Something comes a bit more unhinged. When I go out I see the Sinti family with their shopping cart piled high. But this is normal. Thank god something is normal. Walking out of the shop I tear off my mask and I wonder how ironic the empire of the mask may just be coming to an end.

Walking down the street I pass the Ukrainski Smak Pierogarnia and glance at the women — they have the kitchen with an open window, so you can always seem them at work, rolling, pounding, folding the dough on the floured long tables. It’s at the door to the restaurant part, the small, traditionally minimalist “bar mleczny”, it’s there I see the sign-board, not a menu, but a long list of words in Polish that are mostly unknown still to me, but the known part tells me clearly it’s a long list of supplies, medical and otherwise, being collected to take to their people.

That’s where I kind of lose it for the first time, something goes out from beneath my feet and I stagger to the wall. That distance that separated the war “over there” from us in our reality over here was suddenly removed. Let’s call it a quantum entanglement. A missile struck me.


Jeff Gburek 

Review + Q&A: Kevin- Aftermath (2022, Riot Season Records)

Who is up for me some noisy Can-inspired jamming with heavy angular riffing and some guy yelling gibberish on top? All of you, right?! Right!???

Good, because KEVIN from Japan is here to give it to you.

Heavily inspired by Damo Suzuki era Can, and his extraterrestrial vocal delivery, these three gentlemen definitely got their Kraut stomp going on correctly. On top of that, they have a righteous type of noise thing going on, and they don’t ever shy away from being genuinely weird and impossible to pigeonhole.

Better check that jazz out for yourselves!

I had the honor to talk with drummer Yuichi Umemoto from the band, who did a great job answering my questions…

How are you doing? Can you tell me how the past couple of years have been for you as musicians in Japan? 

Due to COVID-19 and other factors, the days spent only in the confines of Japan were tedious. We wanted our music to cross borders and reach people all over the world as soon as possible. That’s why we worked hard every day on our live shows and songwriting. We are grateful that we are finally able to release our album to the world now.

Can you tell me about how Kevin was formed? And -most intriguingly- what does the band name stand for?

At first, four of us were invited by a friend to form a band. One of the songs we wrote at the time was called ‘Kevin’ and we named the band after that song.Over time, due to musical differences, the bass player left the band, and in January this year the vocalist also left the band, so we are now a two-piece with guitar vocals and drums.

How did you decide on your sound? What were your inspirations for the “Kevin” sound? 

The first thing that struck us was German music(krautrock). We were shocked by Can amongst others. Their human, dry, somewhat explosive beats shocked us. We took the explosive guitar sound of  Kawabata Makoto(Acid Mothers Temple) and combined it with an unprecedented ‘stillness’ and ‘movement’, which is the starting point of our music.
Kawabata is from Osaka like us, so we have seen him live many times and performed with him. He was also a big influence on us.

What are your musical backgrounds? How did you “grow up” on music as a musician and music fan?

We are brothers and we both learnt piano in primary school. That was our first exposure to music. It still helps us to this day. From there, we were exposed to various kinds of music, such as video game music and J-POP, which was popular in the early 2000s, over time. When we were in high school, we traced our roots to hard rock, heavy metal and punk rock, and when we formed a band and started performing live, we encountered psychedelic and jazz, which gave us an unprecedented shock, which is probably the source of our music today. We like any genre as long as it feels good to listen to.

Can you tell me about the role of the vocals in Kevin? I don’t understand a word of it, so any offered context would be very helpful of course 🙂

The vocals on this album have no lyrics. They were improvised and recorded. We hope you will listen to his voice as one sound or imagine what he is saying.

Do you feel part of a “scene” in Osaka/Japan? Are there likeminded artists you like to play with? Is there a club scene with regular shows, etc?

We feel part of the underground scene in Osaka.There is a live music club ‘BEARS’ in Osaka and ‘HELLUVA LOUNGE’ in Kobe. Mainly underground bands from Osaka play there, and we often play there. We play there with HIBUSHIBIRE, Mainliner and others.

What is your main inspiration to do what you do as an artist and release records?

We try to play what we like, the way we like it, without being restricted by genres or boundaries. We are happy if our live performances and records awaken something dormant in people all over the world.

What are your short term and long term goals for Kevin?

The short-term goal is to leave Japan as soon as possible and perform abroad. The long-term goal is to keep making good music and playing good gigs. This is more of a lifetime than a long-term goal.

Anything you’d like to add?

Thank you for reading.Please come see Kevin’s gig.

What should the Weirdo Shrine reader do exactly after this interview? 

Please listen to our records and come to our live shows.