Copyright © 2009 by Neil C. Obremski. These are exclusive interviews conducted by Stephanie Schoppert for FanSiter in 2009. MP3 files belong to individual copyright owners and used with their permission; they may be downloaded and played but not redistributed.
Iona was formed in 1988 and since then they have been combining traditional Celtic music with a modern music in order to create a unique and powerful sound. You can expect modern instruments blended with the sound of traditional Celtic instruments and lyrics. This spiritual band has been through it all, but as soon as you hear their music you can easily find out how they made it through.
Stephanie Schoppert: Can you briefly introduce the members of the band?
Dave Bainbridge: There are 5 of us in IONA;
- Joanne Hogg - vocal / keyboard / acoustic guitar
- Dave Bainbridge - electric guitar / keyboards / bouzouki (that's me)
- Frank van Essen - drums / percussion / violin / vocal
- Martin Nolan - uilleann pipes / low whistles / tin whistles
- Phil Barker - bass guitar / electric double bass
Martin is the newest member. He joined earlier this year, replacing Troy Donockley. We're now officially half Irish as Joanne and Martin are from Ireland and Phil's mum is Irish!
Stephanie: How/when did the band form?
Dave: Unbelievably (to me at least!) we've been around now for 20 years! I co-founded the band along with David Fitzgerald (who plays saxes / flutes whistles) in 1989. To cut a long story short, David, Joanne and I first met when we were all working on an album called 'Alpha and Omega' by an English singer-songwriter called Adrian Snell way back in 1986 not long after we were out of our short trousers. We toured together with Adrian and realised we had a lot in common musically. Then when David and I were putting together ideas for a joint musical project, we realised we needed some kind of focus to base the ideas around. That came when we started researching a bit about the islands of Lindisfarne and Iona, two very beautiful islands in the British Isles which both have a very rich spiritual and historic heritage. We discovered the story of St Columba, who in 563, after a dreadful battle in which 3,000 people were killed, and for which he felt responsible, left the shores of Ireland for the last time to be a spiritual exile on the Scottish island of Iona. We discovered many inspiring stories of faith and courage from this time in history that many refer to as the 'dark ages'. In fact it was a time of spiritual awakening, when many courageous monks risked everything they had to spread the life changing news of the Christian gospel throughout the British Isles. So, fresh from visits to both islands, we decided to base many tracks on the first album on these sort of themes as well as other themes contemporary to the time, such as the fall of the Berlin wall and the student massacre in Tiananman Square in Beijing. So, not the sort of stuff you'd hear on X Factor!
Stephanie: Who are your biggest influences?
Dave: I have so many it would take too long to list them all and each member of the band would probably give quite different answers to this question. If you're talking musical influences, I love all kinds of stuff ranging from rock, classical, folk, jazz, world music etc! I suppose as a band, there are similarities in our approach to some of the progressive bands of the 1970's, in that we often write pieces that evolve through different moods and tempos, that are sort of concept based. We also have shorter vocal songs (Joanne loves people like Joni Mitchell and Sting) and also dip our toes into the traditional folk music idioms of Ireland, England and Scotland. I just think music should be adventurous, inspiring, beautiful and make your spirit soar. I hate having to categorise music into different genres - that can lead to people disregarding whole swathes of great music because they think it might sound a certain way.
Stephanie: If you had to pick, which of your songs is your favorite and why?
Dave: That's a very tricky question and the answer would probably change depending on which day you asked me on! 'Encircling' would certainly be up there with the favourites though as this includes many of the elements that make up Iona's sound. It has atmospheric sections, rocky bits, acoustic passages and some wonderful vocals from Jo during its 12 minute length.
Stephanie: Your music has a truly unique and inspirational sound, what do you want people to take away from one of your concerts?
Dave: A handful of cds! But apart from that, we'd love people to feel uplifted by an Iona gig. We're not really interested in just performing for the sake of it. We love interacting with people - sharing the experience with them. We're just back from playing two gigs in Holland and we always spend time chatting to people at the end of the gig. After having been around for so long we now find that many people who come to see us have become familiar faces and in some cases good friends. That is a very nice feeling. We play our music to the glory of God and believe that the 'special' feeling that many people describe at our gigs is His glorious presence - the Holy Spirit.
Stephanie: Your music is very spiritual. How does this affect your writing process?
Dave: Whenever we come together to play or write we always spend time first seeking God's Presence and His guidance and inspiration. That is key to what we do and how we approach things. We seek to be in a place of peace and freedom. It's amazing the difference that this makes! We're not a band that tours constantly, so when we do all get together it is a special time - we always have a lot of fun!
Stephanie: You have very traditional roots within your music, how do you keep that tradition in the songs and yet still put a modern sound to it?
Dave: The roots of our inspiration go back many hundreds of years. The previously mentioned track 'Encircling' for example features part of a text written by St Patrick in the 4th century. However it ends with a text written in the 'Celtic' style in the 1980's by David Adam. What this signifies is that the 'Celtic' Christian tradition upon which we draw is a living and evolving one, not something static and nostalgic for the sake of it. We incorporate the traditional sounds of pipes, whistles and the human voice with sounds generated by the latest technology to push the tradition on. We are always looking for ways to create new textures with the sounds at our disposal and to create unusual and interesting harmonic accompaniments.
Stephanie: What can you tell me about your new album set to release in 2010?
Dave: We had a great day last week demoing a few new ideas. I'd say there are about 6 or 7 great song ideas on the go and we have a great concept for the album, as well as a title and ideas on which to base a few other tracks. We've been playing two new songs live recently and these have been really well received, which we're happy about. We're planning another writing / recording session before the end of the year and will individually continue working on stuff at home. Frank and I both have studio set ups where we'll do the bulk of the recording, but we're also planning to spend a bit of time in a great studio that our live sound engineer Johan runs in Holland which is big enough for us all to set up everything and play and record live together. I think this is necessary to capture something of the excitement and energy of the new tracks. We're hoping to have the album out around the middle of the year, but it's still a bit early to say exactly when.
However, we're also planning to simultaneously release several compilation albums, which will each centre on a different mood and which will include remixed tracks or even just instrumental themes from previous albums and solo releases plus some new music. The idea is that these albums will accompany the main new album release and allow listeners more space to take in the themes expressed there if they so wish. That's the theory anyway! It all sounds very 'prog-rock' but I think it will really work well and maybe introduce some of our listeners to great albums they've missed out on (the solo releases). The compilations would be mid-priced so they'd be great value.
Stephanie: Iona has recently come back from a long period of inactivity, why the break?
Dave: Two years ago I would have said that I couldn't see a future for the band. Joanne didn't want to tour due mainly to family commitments with her two young children and it was financially unsustainable to record another cd without doing so, so things were sort of on hold. However in the past 5 or 6 months there has be a real sea-change and without going into in too much there is definitely a renewed vision and purpose within IONA. A sense that we're back on the track that we first set out upon all those years ago. After a long period following the birth of her children in which she often struggled to come up with inspiration for new songs, Joanne is currently having a real creative outpouring, with two recent solo albums and about 8 new songs written over the past few months specifically for Iona. We have a concept we're very excited about for the new album too, so things are looking very positive. Jo is also enthusiastic once again about playing live and the recent run of concerts we've done in Europe have been some of the best and most enjoyable we've ever done. I'm really excited about what 2010 holds for us, which we're hoping will include at least one trip to play in the USA.
Stephanie: Tell me a little about your label, Open Sky Records, how did that start?
Dave: In 2000 our US subsidiary record label sent us a letter saying that they had been taken over by Time Warner and that this was a very exciting move for them and all their artists. Six months later, with new staff in place they dropped us! (ha!). We had also been auditing our former UK label around the same time who said we hadn't sold any albums in the USA for 7 years, so no royalties were due. "Er, but we've been there on tour several times and sold loads of albums." was our reply. "Oh no you haven't." "Oh yes we have!". This went on for about a year before we hired a lawyer who found that we were owed about $40,000, which was then soon paid back to us. Also at this time we were able to get the rights back for the first 3 Iona albums. The original record deal we had for these paid peanuts. We thought that there must be a better way to proceed that this, so we set up our own label. As we didn't have a lot of time or money to invest, we decided to work in partnership with a distribution company called Voiceprint, who handle all our manufacturing and distribution. It's worked quite well and we now have all the Iona catalogue available on Open Sky / Voiceprint.
We haven't decided what to do about the next album yet though. The past few years have opened up lots of opportunities to reach a wider audience on the net, but we've also seen income from royalties and cd sales plummet due largely to illegal file sharing. It really affects artists like us who don't have any record company backing and don't have the high profile that some artists have. So we're currently looking for someone to invest in the next recording, so we can keep going and pursuing our dream.
Stephanie: Iona has been around for 20 years now, how do you feel the band has grown since it first formed?
Dave: We've all got taller and use joined up writing now. But seriously, I think the band is stronger today than it has been for many years. We have had many life experiences that have shaped how we are. We are as keen as ever to write inspiring new music and our faith in God is deeper. We have honed our sound and are now much less just a sum of our influences. It's really great on stage as we know and support each other so well. If something goes wrong - as it did on a gig recently when my guitar amp started to sound like it was frying 200 eggs - the others just cover. Martin played a few jigs and Jo conversed and joked with the audience until the problem was fixed. There are no ego problems in this band, which is great.
Stephanie: What are some favorite memories from touring?
Dave: Wow - there are so many! Here are a few off the top of my head.
Touring in Estonia in 1992 soon after the collapse of communism there was pretty special. We did some great gigs there and met some inspirational people. There was one very funny concert though. We travelled miles to this rural village and found we were playing in this tiny theatre. There were no stage lights at all apart from a 100 watt bulb hanging over the stage. However we did find loads of bits of painted scenery - like bushes and trees, so we distributed these around the stage - in front of the keyboards and amps, it looked like a strange jungle scene. Then when the audience turned up we were surprised to see that most were kids of about 6 and under, with their mums! We ended up doing a question and answer session with them via our interpreter - we were asked things like "What is your favourite colour?", "What do you like to eat?". It was hilarious.
Driving for 32 hours non stop to New Brunswick in Canada from the USA on one tour sticks in my mind and trying to avoid hitting moose (mooses?) in the road at 4am. On another tour in the US we suddenly realised that our driver, whom we thought could read a map, had been travelling for 4 hours in completely the wrong direction, turning a 6 hour drive into a 10 hour drive!
Playing in Japan was also very memorable, with gigs in Tokyo starting at 5.30pm so that people could come directly from work. We were actually mobbed on the street there once by fans who recognised us - the only place in the world that's ever happened!
We once played at a festival in the USA called Cornerstone in Illinois on the 4th July in front of 25,000 people. Troy played the Star Spangled Banner on uilleann (Irish) pipes and keyboard just as a firework display was starting. That was pretty magical.
Another time, we played an arrangement of the old hymn 'When I Survey the Rugged Cross' and then just jammed at the end. I'd been playing with my eyes closed. After we'd stopped playing there was complete silence. I looked up to see almost the whole audience lying face down in awe and worship of God - an incredible atmosphere!
Stephanie: When not performing music what do you like to do?
Dave: Being at home with my family / playing with my children (aged 9 and 11) / walking / reading / cycling / swimming (if I get the chance) / spending time alone with God.
Stephanie: What is your favorite place that you have been to on tour?
Dave: That's a tricky one. Often it's so much to do with the people you're with and those you meet. Estonia was pretty special. Back in 1992 it was totally untouched by any western influence. There wasn't a McDonald's or KFC in sight in the capital city Tallinn. In fact, as a special treat one night the organisers bought us 'take-away' pizza. This was from what looked like a hole in a wall - no signs around at all. Mine was a beetroot pizza - very unusual!
I've recently returned from playing is Israel and that was pretty special - playing outdoors in the Judean Hills close to Jerusalem.
Iona once played in the ruins of the 11th century abbey on the island of Lindisfarne, just below the Scottish border for a BBC TV special. That was an amazing place to play too.
To learn more about Iona check out their official website!
Rudy Adrian is an atmospheric musician from New Zealand who has been creating his own unique style of music for years. His music style is peaceful and ethereal and something different every time you listen to it. His music truly feels like traveling without ever leaving home and there are no end to the beautiful pictures his music can create.
Stephanie: You first started to get into trance music when you were at university, did you start writing immediately after that? Were you already writing music at that time?
Rudy: As a child I think I was always interested in expressive electronic music, stuff written that evoked landscapes and the like. I recall at University in 1984 walking up the stairs to the hostel and hearing some wonderful electronic music and enquiring what it was to be informed it was Oxygene by Jean-Michel Jarre. I didn't have a clue how the music was made, but the idea of programming a machine or computer to do it and be able to tweek it to perfection was a very appealing idea. Once the University gave me access to their recording studios in 1986, I did a lot of dabbling and became a tutor in electronic music in 1988, but I didn't really create many complete pieces that were any good. It took quite a few years to come up with some good techniques and methods of using synthesizers to make the music I wanted to make. In the end it wasn't until 1990 when I loaned money from the bank and bought a very expensive computer (a 1-megabyte MacIntosh Plus) and equally expensive music software and an even more expensive synthesizer (the Yamaha SY77), that I could really start creating music at my own pace in my bedroom, with no worries about having to share the facility with others. I create "SubAntarctica - atmospheric works vol.1" at that time and then spent nearly a decade trying out new ideas before completing two other albums "the Healing Lake" and "Twilight" late in the 1990s. So it didn't happen quickly! After all those years, that equipment is still pretty much what I use today - call me arch-conservative perhaps! But for me the music is more and more just a quest for nostalgia and the creative feelings I felt back in the early days.
Stephanie: Your songs are all very very unique, where does the inspiration for them come from? Do you have a specific place in mind when you write?
Rudy: I think the main inspiration is imagining what a first time listener would make of it. I imagine them receiving the CD in the mail and putting it on their stereo and sitting back and listening to it whilst reading the liner notes. I recall purchasing some Michael Stearns and Steve Roach albums while traveling back to New Zealand from overseas in the mid-90s and listening to it for the first time once I got home. I try and create music for that sort of experience!
But as to what I'm trying to evoke - it's probably just trying to echo the ideas of traveling through various landscapes, pausing to take in the sights here and there. I spend a lot of time just noodling away without recording anything. So it's just little serendipitous discoveries of what a particular synthesizer sound might do that sounds nice that gets a piece started. After that, the piece creates itself, one idea hopefully suggests another accompanying or following idea. I never have any concept of how long the piece will be. This can of course lead to the piece losing focus quite easily. Luckily, over the years I have learned how to avoid many of the destructive cul-de-sacs in this "stream-of-conciousness" type of composing.
Stephanie: Your music was referred to by one fan as "Traveling without leaving home" is that your goal with your music to take people to another place?
Rudy:Yes, the idea of traveling in the mind, or "mind expanding music", as I sometime call it, is a pretty major factor in my music. My newest album is called "Distant Stars" and is coming out early 2010 and is very much about that. It is very much about the the traveling through deep space, with the scenery always evolving around you, sometimes dramatically, sometimes subtly.
Stephanie: You are a successful planetarium soundtrack composer, that is an interesting title. What does it entail to write for a planetarium?
Rudy:Actually, I've only once written for a planetarium, and that was a temporary installation! An edited version of that came out on "Kinetic Flow - sequencer sketches vol.1", but the album is now out of print. So, the full-length version is included on the new album "Distant Stars". There normally is a script to follow detailing what scenes occur where and for how long, and you try and make subtle references to them. Things always change after you've made the music, so it does pay to stay subtle. For instance, what was to be a triumphant hero's return for the Apollo astronauts was changed to a whistful look back at Earth from the Moon. Fortunately, no one noticed the music as not being quite right for that scene!
Stephanie: Among your works do you have a favorite? Are any of them more personal than others?
Rudy: Nearly every piece has some nice qualities that I'm happy with, so they are all favourites in a way! There are few pieces I've regretted releasing, simply because on reflection they didn't work. "Secrets in Sahara Sands" on the compilation "Beyond Me" was particularly dire. "Circling Hawk" on "Desert Realms" doesn't quite gel either. "The Legend of Kristy Lynn" on MoonWater isn't my favourite either, but that track is one of the most popular for radio play from that album, so obviously I don't always have a good judge of the music! On the other hand there are a number of tracks that I made that were personal favourites to me that have never been released because they were unanimously disliked by my collection of listeners who "beta-test" my albums before release. I really depend on those guys to be frank in their opinions, and fortunately they usually are!
Stephanie: You used to do sound effects for television shows and movies, was that as fun as it sounds or did it get monotonous? Do you ever have to think of unique ways to create a specific sound?
Rudy: I still do work primarily as a sound designer, although I am more and more doing television camera work and video editing as well. It's never tedious - it's just the right balance between a little bit of creativity and a lot of just "painting by numbers". It's very satisfying work and I'm lucky to have had a job I love for 15 years now. Occasionally I have to create something from scratch. For instance, we didn't have a good sound of an espresso frothing machine, so I created one by filter-sweeping the sound of roaring surf. A lot of sound engineers wouldn't have been able to do that, but if you've fooled around with synthesizer as long as I have, it seemed a very easy and logical thing to do. At other times you end up using a library sound effect that really isn't quite right, and there's not enough time (or need) to make it better, and that can be a disappointment.
Stephanie: What do you do when not creating music?
Rudy: I've spent the last few years doing a lot of what is a popular past-time in New Zealand and that is "renovating" my house. I got builders to shift a number of walls around to make better use of space (we created a whole extra bedroom with the spare space!). That has meant a lot of plastering of holes and painting of walls for me. It's almost finished, but has filled in a lot of time I might otherwise have spent noodling away on the synthesizer keyboards. There's also a large garden outside can always benefit for more gardening! But for pure leisure, nothing beats a nice bike ride on a sunny day at the edge of the surf along the beach, or a walk in one of the nearby pine forests.
Stephanie: Your music is very peaceful and mellow, are you the same way or is your personality different from the music you create?
Rudy: I'm actually very active and always busily running around! Yes, I know some people imagine the music must be designed to get stoned to, or something like that. But that's not the objective. I listen to atmospheric music mainly just to relax for a little bit while reading a book or magazine in the evening before doing the next task ahead.
Stephanie: Do each of your albums have their own tone and feel to them or are they all about the same?
Rudy: I think there's three different styles in my music, and most albums are dedicated mostly to one of those styles. "Atmospheric Music" is well represented on "MoonWater" and "Desert Realms". "Sequencer Sketches" are more about percolating electronic rhythms and floating lead lines and the series of four albums I did for Groove in the Netherlands is representative of that. Then more recently I have interested in "Deep Space Journeys", of which there were two tracks on "Par Avion", and now "Distant Stars" is 76 minutes of just that. Many albums have a little bit of another style to "advertise" my range and give a bit of variation. The Sequencer Sketches albums are a mixture like that, as is "Twilight" The live album "Concerts in the USA" is a collection of original, live pieces not available on any other album, and that has a mixture of styles too.
Stephanie: What are your current projects?
Rudy: Now that I've finished "Distant Stars", I'm keen to start on "The Quest for Nostalgia" - a range of sequencer and atmospheric music created on two analog synthesizers from the mid-80s. So this is created on equipment I first started dabbling. It'll be all done as if created on an "affordable" home synth studio circa 1986. I did a test piece I'm quite pleased with which I've provided an excerpt of with this interview. So I'm looking forward to exploring the nostalgia of that era with the skills I have now!
Stephanie: Is your music different when you perform live?
Rudy: Yes, I don't believe in turning up with a laptop or CD or pre-recorded tracks and playing a simple melody live overtop. For me the satisfaction is in creating a complete sound with nearly every note played live on the keyboard. I've practiced this foe a long time and developed quite a good technique with delay pedals and just a few simple pre-recorded sequencer patterns and lots of adjustment of timbre with various knobs. I haven't played live since 2002, but I'm thinking of a doing a few small concerts for listeners in New Zealand after "Distant Stars" comes out early 2010. The music is similar in style to that of my albums, but is still unique and somewhat improvised on the spot, so nothing like, say Jean Michel Jarre who just plays his greatest hits live.
Tettix (Judson Cowan)
Judson Cowan has gone through a few evolutions as a musician, from Rephlectiv to Cicada to Tettix. But what always remains the same is that he is an amazing electronica musician with a rather unique outlook on music. His music spans a wide variety and is all available free of charge on his website. So get ready to enjoy a decade of music and some unique insight into this talented Atlanta musician.
Stephanie Schoppert:How/when did you get into music?
Judson Cowan:I started writing music my freshman year of college - this was fall of 1998. I picked up a copy of Propellerheads' ReBirth for my old Pismo laptop and spent hours ignoring my art classes to make ridiculous little tunes on it. Ironically, I'd never been overly interested in music creation before then but Propellerheads found a way to make it so simple and accessible - a real achievement for the time - and I latched on and never let go. I originally used the name "Rephlectiv," kind of an inside joke between a friend and myself that wasn't even funny to US. It wasn't until a year later that I became "Cicada," then ten years later "Tettix" (the ancient Greek - homeric - term for the cicada).
Stephanie:Who are your biggest influences?
Judson:I've probably never heard a song that didn't influence me in some way, but that's probably true of all musicians. My idols when I first started writing were Orbital. I've strived over a decade to achieve the rich, orchestral style of electronica that they seem to be able to do with their hands tied behind their back. Other big influences span the gamut: Plaid, NIN, Radiohead, Aphex Twin, Philip Glass, The Faint, etc.
The word "who" is a bit limiting, though. The more obvious influences on my music are the soundtracks from old Nintendo, Super NES and Genesis games. Megaman 2 is a favorite. And Journey to Silius.
Stephanie:If you had to, who would you compare your music style to?
Judson:I guess I already covered that one. I do, however, constantly get compared to bands I've never listened to. It's a great ear into music that I somehow managed to miss and has turned me onto some of my now favorite bands. Depeche Mode, TV on the Radio, Art of Noise, Mindless Self Indulgence. That sort of thing.
It's also hard to lump my music into a single category. Some of it sounds like NES music, some of it sounds like Emo-electro, some of it sounds like a horror film soundtrack, some of it sounds like Glee. The array is ridiculous.
Stephanie:If you had to pick, which of your songs is your favorite and why?
Judson:Jeez. That's tough. I only write music that I want to listen to, so I'm usually happy with anything I bother to finish. Most of them I get sick of, though. Everyone else's favorite is "Earth's Assault on the Central AI." I love it, too, but it's not my favorite. I'm really happy with most of the most recent album, T.K.O.E.P. and "Chicken Pox" off of Maladies is a blast.
Stephanie:What got you into Electronica?
Judson:A girl in my high school art class named Naomi... I think. That was a long time ago. She let me hear Orbital's "Crash and Carry" on a plane to the grand canyon with our science club. I spent the next four years in a really obnoxious raver frame of mind. Ironically I've never done drugs and I didn't start drinking until I was 21.
Stephanie:Where did your name come from?
Judson:Like I said before, I was originally called "Cicada" - after the insect. The real story is much lamer and much more teen-angsty but the subtext of it is that I always loved cicadas - all insects, in fact - as a kid. I would collect the shells from the larvae off trees in the summer and attack my He-man toys with them. Plus the obvious fact that cicadas are quiet noisy little critters.
Stephanie:You have produced a massive amount of music, how long have you been creating albums?
Judson:Okay, so the not-answering-questions-before-they're-asked thing isn't going so well for me. My first album was as Rephlectiv in 1998 and it was called something long-winded and ridiculous like "You're not just another pretty face, you're just not my pretty face." Those were not pretty years. Braces. JNCOs.
Stephanie:How long does it typically take you to create a song?
Judson:It really varies, but I rarely take more than a few days. Usually the basic song is done in a single six-to-eight hour shift, but I'll keep taking it out in my car and finding things to change for weeks sometimes.
Stephanie:Are you currently working on anything new?
Judson:I wish I could answer "yes." I've been on hiatus for about six months now. I keep having new ideas but I just haven't had the time to see them through. Tell the video game industry to quit with all the amazing games for a minute so I can write!
Stephanie:What is the writing process like for you?
Judson:Time disappears. Suddenly it's 1 a.m. and I haven't eaten dinner.
Stephanie:You give away a lot of music for free. Do you give away everything you create? Why do you not charge people to listen to your music?
Judson:Yeah, everything's free. You CAN pay for a few albums on iTunes, if you feel like I should be making money. Or better yet, make a donation on my website - it's much more personal. I've long since stopped trying to make people pay for my music. I tried to make an album and burn a bunch of copies a few times. Even my closest friends seemed short on cash when it came down to it (except you, Dipanfilo - I haven't forgotten). So I just put it out for free and hope karma takes care of me. I do get a fair amount of donations - from all ends of the earth - but it's mostly just beer money.
It's really changed my perspective on music and money. I don't feel like people SHOULD have to pay to listen to music they like. I always support artists and bands I like, but I like to give people the option to have it for free. Radiohead and NIN are on the right track with their digital distribution. I've made money on my music a few times, but it's always been from big corporations that just have advertising budgets to toss around. I don't feel bad about taking their money. Let the kids have it for free and make The Man pay.
Stephanie:When not creating music what do you like to do?
Judson: Games. Mostly console video games, but I do play Magic, super nerdy 8-hour board games and occasionally tabletop RPG stuff, too. I have a lot of costume parties. I'm an avid, and snobbish, movie-goer. I'm a sucker for improv. I've been to every Zombie Walk in Atlanta. I work in advertising, so I have to drink to stay sane. I go to a lot of art openings and gallery crawls. I try to travel abroad every year but money and/or busted knee don't always allow for it.
But mostly games.
Stephanie:What do you consider to be your guilty pleasure?
Judson:My girlfriend asked me the same thing recently! I think I told her that my entire life is one big guilty pleasure that I just don't feel guilty about. I also told her "eating Chinese delivery while watching anime."
To learn more about Tettix and to hear all of his music visit his official website.
Comments or questions? Email me at email@example.com.