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the-anti-internet · 7 years

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#trypod

Hey, haven't been around in awhile. I've been "busy" over at @petesmediadiary logging (once a week, usually Sundays) all the media I consume (plugtime over). But in honor of #trypod, a campaign to make people aware of podcasts, here comes a list of all of the podcasts that I listen to with a brief description of what the podcast is about: 12 Hour Day with J.D. and Connor -- Each episode is at least 12 hours long where the hosts hang out for a day. You follow them as they hang out, and do things around New York City. (Comes out a couple of times a year) Comedy Bang Bang -- Scott Aukerman hosts where each episode he has on a comedian and other odd people come in after a brief interview segment Mike and Tom Eat Snacks -- Each episode Michael Ian Black and Tom Cavanagh Pick a snack, Eat a snack, and Rate a snack. (Currently on extended hiatus, but worth listening to the back catalogue) The Indoor Kids -- Kumail Nanjiani and his wife Emily V Gordon talk about video games and other stuff they are watching. (Also currently on hiatus, but might be coming back soon?) Womp It Up! -- Jessica St. Clair and Lennon Parham spun off their characters Marissa Wompler and Charlotte Listler from Comedy Bang Bang where Marissa has a senior project podcast from her schools library where they interview the schools faculty and other students. (Hopefully it will be back after Playing House season 3) Spontaneanation with Paul F Tompkins -- PFT has a chat with a celebrity guest and then he and some improvisors do a 30 minute long improv based on that conversation. Harmontown -- Dan Harmon has a mental breakdown on stage, and raps about having sex with your momma. The K Ohle with Kurt Braunohler -- No longer active, but it was a multi-format podcast that Kurt hosted. Pet-o-philia and Get Lost were the two best formats. Beautiful Stories from Anonymous People -- Chris Gethard takes a call from a random person and is not allowed to hang up for an hour. At the hour mark the call is ended. Surprisingly heartfelt and wonderful. My love of Gethard aside, this is a GREAT podcast. Hollywood Handbook -- Sean Clements and Hayes Davenport are two of Hollywood's elite and drop names on this red carpet we call showbiz. This is some of the hardest I have ever laughed. It does take some getting used to though. You will hate it for the first few episodes. Emotional Hangs -- Kurt Braunohler and Joe Derosa explore their friendship and break down adult friendships and try to be open and vulnerable with each other. Rose Buddies -- Griffin McElroy and his wife Rachel recap episodes of The Bachelor family of TV shows. (I have never watched an episode of The Bachelor Family of shows) You Made It Weird w/ Pete Holmes -- Pete talks about Comedy, Sex, and God with pretty much anyone (usually comedians) who will talk to him about it. (Harris Wittels #3 is one of the best episodes of a podcast I have ever heard. It's an episode where Harris is open and honest about his struggles with addiction, and he is so effortlessly funny about it too. Spoilers: While the episode ends hopeful and on a way that makes everything seem like Harris is going to turn it around, he died from an overdose less than a month after the episode was released) Who Charted? -- Howard Kremer and Kyla's Vilaysack count down the charts in Music and Movies every week. Pistol Shrimps Radio -- Matt Gourley and Mark McConville don't know anything about basketball, but that doesn't stop them from doing the play by play of a women's recreational basketball league in LA. The Worst Idea of All Time -- Guy Montgomery and Tim Batt watch and review the same movie once a week for an entire year. Year one: Grown Ups 2. Year 2: Sex and the City 2. Year 3: We Are Your Friends (currently still going) Doughboys -- Mike Mitchell and Nick Wiger review a different chain restaurant every week. My Favorite Murder -- every episode Georgia Hardstark and Karen Kilgariff each talk about a murder and go through the story of it. The Dollop -- Dave Anthony tells an American history story to his friend Gareth Reynolds who has no idea what the topic is going to be. The Adventure Zone -- The McElroy brothers and daddy play dungeons and dragons together. It's some of the best storytelling you will ever hear and it's consistently incredibly funny. Never Not Funny -- Jimmy Pardo hosts a relaxed chat with a celebrity guest. Doug Loves Movies -- Doug Benson plays movie games with comedians and funny people. Totally Beverages (and Sometimes Hot Sauce) -- Andy Rosen and Intern Josh do blind shootouts of beverages trying to figure out which is which and guess their favorites. (I "produced" episode 100, so selfishly I would suggest that episode) CoolGames Inc. -- Griffin McElroy and Nick Robinson create a new video game every week. With Special Guest Lauren Lapkus -- Every week Lauren is the guest on a different host's made up podcast. How Did This Get Made? -- Paul Scheer, Jason Mantzoukas, and June Diane Raphael talk about a different (usually) bad movie. No Such Thing As A Fish -- Writers of British panel show QI talk about their four favourite facts of the week that they learned while researching for QI. Ding-Donger with Matt Braunger -- Matt Braunger hitchhikes into your life for 30 to 45 minutes each week as he tells you what's been going on with him. Thanks for picking him up! The Bugle -- Andy Zaltzman and a rotating group of co-hosts talk about what's been going on in the world over the past week. (Formerly co-hosted by John Oliver) Competitive Erotic Fan Fiction -- Comedians write erotic fan fiction about pop culture and read it in front of a live audience. Slumber Party with Alie and Georgia -- Alie Ward and Georgia Hardstark have a guest over and they play slumber party games. What Say You? -- Sal and Q from Impractical Jokers talk about whatever is on their minds. Cardboard! With Rich Sommer -- Rich Sommer (Harry Crane from Mad Men) talks about board games. Black List Table Reads -- Franklin Leonard produces "ear movies" each episode is a table read of an unproduced screenplay. Hound Tall with Moshe Kasher -- Moshe has an expert on a topic as well as three other comedians on stage to talk about the experts subject in a town hall style meeting. Post Pink -- Justin Linville and Robby (who's last name I've forgotten) talk about Weezer's releases since Pinkerton. U Talkin' U2 To Me? -- Scott Aukerman and Adam Scott talk about everything U2 related in the dumbest way possible. Tell Us How Your Dog Died -- David Kramer and David Stoll talk to a guest about how their dog died. Legitimately one of the best earwormiest theme songs ever. Even though there hasn't been an episode (and probably won't be any more) I still find myself singing the theme song to myself fairly often. 'Till Death Do Us Blart -- The McElroy brothers and the guys from The Worst Idea of All Time Review Paul Blart: Mall Cop 2 every thanksgiving for the rest of eternity. In the event of one of their deaths they are to bequeath their spot to someone else who will take the mantle. FizzyBoys -- Don Finelli and Chris Gethard review a different soda every episode. The Ones Who Knock -- A podcast that recaps every episode of Breaking Bad and Better Call Saul Decoding Westworld -- From the people who brought you The Ones Who Knock talk about Westworld. Analyze Phish -- Harris Wittels (rip) tries to convince Scott Aukerman that Phish is a good band. Andy Daly Podcast Pilot Project -- Andy Daly's many characters from Comedy Bang Bang each try to get their own podcast at earwolf. Each episode is the first episode of what their podcast would be. New Years Eve with Neil Hamburger -- Listen to Neil count down the new year! In Your Dreams with Chris Gethard -- Chris and Dream Analysis Expert Gary Richardson analyze the dreams of people who called in with a different guest each episode. End of podcasts that I'm subscribed to. Now onto podcasts that I am either working through their back catalogs, or listen to depending on the episode: My Brother, My Brother, and Me -- An advice show for the modern era, the McElroy brothers give their listeners (and Yahoo answers users) advice. Started listening in June, currently on episode 114 out of 346. Hard Nation -- A spoof on Right Wing Political talk shows. Brothers Mark and Pete Hard host a show with a different political guest (a comedian pretending to be a political figure) Dr. Gameshow -- Jo Firestone hosts a radio call in show where listeners submit their ideas for game shows and Jo has comedians play the games in studio. No longer active and the back catalog is disappearing. So get on this one quick if you want to listen. Jordan, Jesse, Go! -- Jordan Morris and Jesse Thorn talk with a different guest. (Guest dependent) Hopefully We Don't Break Up -- Couple Will Miles and Giulia Rozzi talk with other real life couples (usually at least one comedian) about their relationships. High and Mighty -- Jon Gabrus talks with a guest about something that they are both passionate about. (Guest and/or topic dependent) If I Were You -- Jake and Amir give advice to their listeners. (Guest dependent, but the Ben Schwartz, Jon Gabrus, Thomas Middleditch, And Rose McIver episodes are all must listens) The Adventures of Danny and Mike -- Danny Tamberelli and Mike Maronna (better known as Pete and Pete) go on a monthly adventure together. I Was There Too -- Matt Gourley talks to an actor with a small-ish role on a big movie. Alison Rosen Is Your New Best Friend -- Alison Rosen talks to a person of note. (Guest dependent) This Feels Terrible -- Erin McGathy talks to people about relationships and why they make people feel terrible. Fitzdog Radio -- Greg Fitzsimmons interviews (usually) another comedian. (Guest dependent) 100 Words or Less -- Interviews with musicians. (Guest dependent) Going Off Track -- Interviews with musicians. (Guest dependent) The Best Show with Tom Scharpling -- Tom Scharpling's long running radio talk show. I don't have enough time in my week to listen to this every week, but whenever I can squeeze it n it's always worth it. The JV Club -- Janet Varney interviews People about what they were like in their formative years and then plays M.A.S.H. with them. (Guest dependent) Put Your Hands Together -- The audio recording of the weekly standup show hosted by Cameron Esposito and Rhea Butcher. The Todd Glass Show -- Todd Glass has a guest and it's just non-stop bits. There we go. There are all of the podcasts that I listen to regularly (or at least check in with regularly). There should be something in there for everyone. You're a champion for reading all the way through this, and if you try one of these and like it, please let me know. I would be happy to talk about any of them.

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triteicerecords-blog · 7 years

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"Shauny's very sad...": A momentary glance into the life of Shaun Hathaway.

About a year ago, I had found myself stumbling upon what would be my partner label, Cavern Brew Records. Of the many oddities that was the label's discography, few truly stood out to me more than Shaun Hathaway. With bassy, underlying drones, harrowing, dark sampling, and loose, yet oddly intricate orchestration, Shaun is one small dark ambient artist, bound to make big leaps in the near future. The following is an interview between the two of us.

What made you want to become a musician, and make ambient music? Have you considered experimenting in other genres?

Well, when I was a kid I used to draw a lot and write stories/small books, then when I was beginning to become a pre-teen I used to act in plays and write scripts for plays and even came in second place in a playwriting contest in 6th grade, then when I was a teenager (high school age) I used to make short films and sketches with my friend at the time, and then after I was about to turn 17 I was starting to write, near-feverishly, lyrics down into various notebooks and I probably have about 4 or so notebooks filled with bars I wrote. My ex-girlfriend actually gave me my first "official" notebook that I used to write rhymes in because I was so convinced that I was going to rap and she was the only person at the time that actually believed in me, so I wanted to make her proud. Soon after I dropped out of high school and we broke up, I recorded a few songs with my close friend and I kind of sort of really cringe looking back at it because it could be a lot better. Don't bother looking for them, though, because I made sure they were taken off of soundcloud. Anyways, the continuation in the storyline I am trying to create is that I was fascinated by how my friend could produce his beats so fast while still being funky as hell. So, he used to try to show me how to use FL Studio and every time I would try to create something, I ended up accidentally creating something hellish so I eventually decided that there was clearly something to it. I think it was a culmination of all of the noise music I was listening to and my generally manic state I was constantly in at that time period, but I very specifically remember hunching over my laptop and making my very first full-length song "Adjustment" in a non-stop 6 to 9 hour production "marathon" and immediately uploaded it to SoundCloud. After I made that song, I was incredibly proud of myself for what I had created and decided to continue making more and more of it and eventually released my first EP "Shaun's Dark Place EP" and was almost immediately contacted by the founder of what became Cavern Brew Records who asked me to release stuff on his new net-label and I said yes. As for the second part of the question, yes, I have considered and have already experimented in hip-hop primarily. I very much plan on creating more and more hip-hop frequently and my end goal to my musical career would be to create experimental R&B and hip-hop, along the lines of artists like FLANCH, JPEGMAFIA, and basically everything Arca has had a hand in producing.

Who are your influences? Or people who you frequently listen to?

My influences for my dark ambient and noise music would definitely be Kylie Minoise first, he has probably had the most direct and notable influence on my harsh noise releases, and others would be Jason Crumer (mainly just Ottoman Black), The Gerogerigegege, and Sissy Spacek, so decently entry level stuff, however I should give a salute/shout out to PURGIST. The people I frequently listen to would most notably be LIL UGLY MANE who is my ultimate production and generally musical idol, Death Grips, Clipping., JPEGMAFIA, Danny Brown, Arca, SOPHIE, another huge production idol of mine, Ratking (and Wiki's solo career too), Machine Girl (mainly just WLFGRL, not gonna lie), ANTWON, Watkin Tudor Jones and his various projects, I know they only have one album, but I fucking love FLANCH so far, Memphis Hip-Hop as a whole has been a huge musical awakening/love for me, especially albums like The World Of A Psycho by Maniac and Demons Takin' Over Me by Nigga Creep, and the whole DJ Sound and Frayser Clique sound, not to downplay Three Six Mafia at all, Giles Corey, and fucking fight me, but I love Spooky Black/Lil Spook/Corbin. I've also really been getting into Xiu Xiu lately.

What are you listening to right now? What would you personally recommend?

I personally try not to listen to music while doing most things except driving and, well obviously, listening to new music because I feel like I'm not giving it my fullest attention and that it deserves better than that. However, I will admit that I will play the albums BBNG by BADBADNOTGOOD, ABSENCE OF SHITPERSON by LIL UGLY MANE, Swing Rocket by Swing Rocket (good friends of mine), and Fashion Week by Death Grips while I am driving in the car with new people or just people I am musically incompatible with, like my mother, most of my friends, or my 7 year old niece. People I HIGHLY recommend would be literally any of the artists I mentioned for the last question, but severely underrated people or projects I would really like to double down my love for would be FLANCH, ANTWON, and JPEGMAFIA. FLANCH for the reasons being that they managed to essentially bring to life a lot of hazy-ish/ballparked ideas I have had in my head for things I would love to both create and hear in a very clear, but by all means strange vision and it is absolutely phenomenal. FLANCH is easily one of my favorite albums of the year. ANTWON being another huge recommendation because of his always incredibly entertaining lyrics, energy, voice, flow, ability to do his thing on just about any beat he is handed, no matter how strange, and his very clear love for punk and black metal which heavily translates into both his aesthetic and lyricism on darker songs. Him and Wiki also put on a 10/10 concert when I saw them both live. And finally, JPEGMAFIA is everything that both music and politics need at this time. He is the best provocateur, both musically and personality wise, of 2016. He has openly admitted to being contrarian for the sake of being contrarian because he believes people should be pushed in the way he pushes him. His albums BLACK BEN CARSON and his collaborative EP The 2nd Amendment with artist Freaky should both be immediate listens for anybody reading this. He is a genuinely amazing glitch-hop, industrial-hop, and just generalized experimental hip-hop artist. Easily one of my favorite newer artists by far.

You chose your real name as a moniker, and many of your albums give a slight description of your personal life in of itself. Do you feel this transparency is a key factor to what makes your music interesting?

I absolutely believe transparency is very key for my releases under my real name, however I would very much like to believe that people would find the music itself entertaining or interesting regardless of personal backstories connected to the albums.

And what possesses you to put out your own personal life? Contextual reasons or catharsis or?

I think it just has to go hand in hand with the transparency I offer by using my real name. I have multiple songs under probably around 20 different aliases out that have no real need for my name to be attached to them, so I leave them segregated from the message, sound, emotion, or point across I am trying to make to people, unlike with my "main" musical releases. But yes, catharsis is very much a great deal to do with it. Like how I used a text message my ex sent me as I was boarding a bus in Boston after we broke up as one of the cassette covers for the album Suicidal Ideation. I am also using the same text message picture to press onto some shirts that should be going on sale relatively soon/before the year is over. My good friend MC 469 and I both are currently the only owners of said shirts. It just works as a grieving method where if I include my personal life into my artistic ventures I just look at it as a part of my art now. Like that text message picture, I barely even look at it and want to cry anymore, I usually just immediately connect it to the aesthetic that I have been trying to hone since I started releasing my dark ambient music rather than the incredibly upsetting amount of personal turmoil it would usually stir up.

Say I’m a new listener. I want to know a short summary of the context that leads you to create these albums. What would you say?

Shaun's Dark Place / thesunshinedieswithoutme: At the time I had just been released after spending a 10 day stay at a mental hospital in Brattleboro, Vermont after being placed in a psychiatric ward for 6 days because I was put on suicide watch for the second time that year (2015), and I had a lot of emotions, feelings, and anxiety to release somehow and the medicine I was on made me feel slightly numb and I was scared of becoming, I guess, normal, so I discovered during that 6 to 9 hour production marathon of the song "Adjustment" was that what I was doing was incredibly therapeutic and I had just discovered a new way to voice my anxieties. Return to Shaun (split album with artist Return to Sender): I had discovered that as helpful as it was to express very morose emotions, it also gave me a pathway to be able to create "fun" harsh noise and just to enjoy myself while still giving my small fanbase what they asked for. Suicidal Ideation: This album began production a little after the previous two projects and I was experimenting in doing much longer, dronier, and more entrancing soundscapes when everything took a really sharp turn for the worst at that time in my life. To sum it all up, I broke up with my current girlfriend at the time because of the multiple unresolved problems and emotions I never settled with my ex, so I went into a full-blown mental breakdown which lasted for about 4 days until my ex, the one I was missing very much at the time, called the police and told them that I was probably going to kill myself that night, which I guess I never thought I would admit it publicly, but I was. I was planning on pulling over somewhere isolated after talking to my ex one last time and just letting the car exhaust fumes kill me. So, the police apparently showed up at my mom's door, while I wasn't home, basically saying "Where is your son?" "He's a danger to himself" "He might have killed himself" and horrible shit like that so I had to stop at the local police station to tell them to stop harassing my mom until they eventually led me under false pretenses and put me on suicide watch for the third fucking time that year where I was held against my will in a psychiatric ward for about 36 hours. In a manic state, I tried to call my ex who called the cops on me and the last words she said to me were "You belong in a mental hospital" and I still haven't been able to contact her since considering she blocked me from her entire life after that, but do not get me wrong, she was entirely within the right to do what she did, I just kind of wish it was perhaps done a little less harshly, but I cannot pinpoint her as "the bad guy". One last "fun fact" about that album was that the song September 22nd was actually made for my mom for her birthday because at the time I couldn't afford to buy her one, so I thought I would try to "make something happy for once" as she would always try to tell me. Cold (single for Stocking Stuffer): I wanted to create an ambient piece that gave the listener a very unsettled and distant feeling of an icy and strangely familiar, but foreign state of mind and or mood. they found him in the forest: I accidentally stumbled upon footage of my father walking through various job sites (he was a forester/logger) and I thought to myself how heartbreaking this was that all the video and audio recordings I had left of my dead father were some 5 to 30 second snippets of him walking through leaves and occasionally mumbling under his breath. October: It's a very self-explanatory project once fully listened to and is easily my most directly personal, and possibly horrifying, album/project to date. It's kind of a hard listen because of the subject matter itself, but I would like to think that it is a very essential listen for any fans of mine who are interested in learning more about my own "backstory". Halloween Split Series 16.2 (Shaun Hathaway x Subversive Intentions): I like to describe my side of the split as a Halloween sound effects/scary stories CD or cassette found in a Goodwill or a similar thrift store, with something incredibly sinister lurking beneath the surface of it all. I'm very proud of this split because it was born out of the most absolute passion and love for my favorite holiday and the collection of old Halloween story and sound effects cassettes and CDs I "used to" listen to in abundance for almost the entire month of October.

When I had a previous had a discussion with you, you stated you would most likely have difficulty having a call as you are “in the middle of nowhere”. Do you think such adds to that isolated feel of your music?

Absolutely. Isolation and alienation are very far from foreign feelings living in New Hampshire, which, in turn, translates heavily into my music. I always had a "joke" that the only ways to die in New Hampshire are suicide, overdose or car accident. Unfortunately the "joke" becomes much more morbid when you start to live here longer and people you used to know start to die faster and younger every year.

If I wanted to show people an accurate depiction of depression through music, you would probably be the first. You do such in a primal and blunt way, something that’s often difficult for your average joe to comprehend. It’s quite an amazing thing to accomplish. I give you praise for such.

Thank you very much! I appreciate the compliment very much! I always think it's amazing when a fan or new listener sends me an email and says almost exactly that, that my music is an accurate translation of depression into music and I take the compliment very to heart because that was exactly the goal I tried to achieve the entire time. It's also kind of a sad awakening in one regard, however. I find it amazing that somebody else out there can empathize and connect with my music the same way I did while creating it, but at the same time it depresses me a lot to know somebody actually has the same feelings as I did while creating it. Nobody should ever have to feel the ways I feel and have felt in the past and it's sad, but on an upturn of it all, I hope it will at least help some people realize they aren't alone as they think they are, as cliche as that may sound.

Do you have a certain thought process to your music? Some of your own songs hit the thirty-minute mark, and it makes me wonder do you have a certain method as to how you develop your drones?

For most of my discography my thought process just consisted of trying to capture the exact feelings I was having right then and there in the most accurate way possible and which samples could really amplify which emotion and etc. However, for a fair chunk of my other stuff, especially on my new album I'm working on (which is easily becoming my favorite album yet. No I don't have a specific release date for it. Probably 2017, though.), I find a main, usually spoken word/vocal sample, that I absolutely fall in love with and I build an entire soundscape and environment around the sample to amplify it. For the second part of your question, yes, I do have some semblance of a method to my madness. As stated a few questions back, when I started working on Suicidal Ideation, I wanted to focus a lot more on the entrancing factor of drone music and in doing so I would develop main, monolithic in size usually, and try to let it seep in and then start tacking on other large and thick layers of loops and generalized ambient sounds. Another must have for me with a lot of my music if you haven't noticed, is thunderous bass lines which, in my opinion, both enhance and add a very unsettling and overpowering feeling to each track it appears on, or at least that is certainly the goal of mine.

Any specific instruments that are key/essential to you?

If vocals count, then absolutely, yes. If not, then not really. In fact, the more I think about it, the more I realize that there is barely any actual instruments, sampled or otherwise, that are in my discography. The only real examples I can think of would be the highly manipulated samples of me playing with my keyboard that appear throughout Suicidal Ideation. However, I will reveal this much, the afformentioned possibly upcoming in 2017 album is going to change that. That is all I can really reveal about it.

I notice you like to use religious songs in your sampling. Some instances, it even sounds like they’re crying or something is bothering them as they sing. Are these personal recordings, or samples you happened to stumble upon?

Oh god, I know exactly which song you're talking about too, 'finalities' off of Suicidal Ideation. That was easily one of the most horrifying samples, in my opinion, that I have ever used. The whole song, especially that intro, was to basically replicate a panic attack I was having while making that song. Almost all of my religious samples actually all come from one place, which I refuse to identify because of how much long it took to stumble upon it and in the vain of not giving away one of my most treasured secrets. But no, none of the religious samples are of my creation, "unfortunately".

Are you yourself religious? And what kind of “weight” does this add to your song, at least in your opinion?

My father was semi-catholic, but his whole side of the family seemed to be relatively devout catholics and my mother and her side of the family all seemed to identify as "spiritual" so I mainly seemed to empathize with my father's religious side for a while when I was a kid. Eventually I just began to lose interest and faith in religion and ever since I was 11 I have been stuck with a strange feeling of loss that I have never been able to fully recover from. I feel like the "weight" that it adds to my music and art as a whole would be that it really envokes a feeling within every once-religious person that can't be fully realized or explained, but is merely a phenomenon that really seems to pique my emotions. Essentially, the samples, themes, etc. are all just attempts to reconnect with a part of my life that has been forever lost. It's basically my equivalent of nostalgiacally looking through old scrapbooks and photos of a dead loved one where the memories you shared with them are both very vivid but also slightly hazy, but the overwhelming feelings of sadness and nostalgia are very clear and direct.

What would you say distinguishes you from other ambient/dark ambient artists?

I would probably have to say my emotional vulnerability. I feel like a lot of (specifically dark) ambient and noise artists are completely obsessed with becoming as anonymous and enigmatic as possible for their whole gimmick, which I completely can understand and respect as a fellow artist and musician, but I feel like the farther they stray from their own identities, the further they distance themselves from their emotions and humanity. In my opinion, a majority of music is created and intended to be an artform in which artists can express their emotions in a very abstract or direct way and when people try to make themselves as unrelatable as possible, it becomes more apparent that the mask they wear they feel is more interesting than themselves which I feel is just being unfair to one's self. Another thing that sort of frustrates me about it is the fact that very rarely do those types of ambient and noise producers ever have fun with it. It's the reason why artists like Death Grips and LIL UGLY MANE will always stay entertaining to me, they play heavily with the elusive act that their fanbases has essentially labeled them as and they seem to enjoy themselves very much doing so. Another thing that would probably be a distinguishable feature of my certain style of ambient/dark ambient is the lack of instrumentation, pedals, etc. and is almost entirely plunderphonics based. I know a lot of ambient artists seem to rely heavily on (albeit distorted and manipulated) synths keyboards, etc. but almost all of my music is 100% sample based. I mean some of it is definitely recorded by me, but more often than not without specific intentions for specific songs and more just recorded for the sake of possible digital mutilations. All of my stuff is just made entirely on my laptop. However, things are going to be slightly changing with that possibly 2017 album I'm working on, but don't worry, it will still be 100% Shaun.

What is the order you recommend your new listeners check out your discography?

Honestly, I don't mean to sound like "that guy", but honestly, I think that chronologically is probably the best bet, except maybe postponing the monolithic Suicidal Ideation until you've listened to everything else, but for certain, you should really start out at Shaun's Dark Place EP or Shaun's Dark Place / thesunshinedieswithoutme.

What albums do you especially recommend, or not recommend, people listen to from you?

Definitely Shaun's Dark Place / thesunshinedieswithoutme, Suicidal Ideation, and October. If listened to in that order, you will probably get a very firm understanding on what it is that I create and who I am. Especially if listened to in that order. The rest of my discography are mainly just considered side projects and experimentations to me. That doesn't mean they should be swept under the rug at all, but they definitely were made more for me to try something new or were for a split or single. However, a huge bonus one for me would be to listen to my split album with Subversive Intentions Halloween Split Series 16.2 (Shaun Hathaway x Subversive Intentions) on Halloween day or Eve or both because that was definitely a passion project that was made entirely out of love, respect, admiration, and general adoration of Halloween sound effects/stories CDs and cassettes I grew up listening to over and over again as a child well before, well after and certainly during Halloween. I was just absolutely obsessed with them and still am.

Have you considered live performances?

Absolutely. Karma Bus and I have been in on and off again serious talks with the idea of a mini CBR/Cavern Brew Records concert with as many local artists signed and or associated with the label to come down and perform at whatever local venue they allow us to book. Another possibility we have talked about is just a dual performance with just ourselves that would possibly feature performance arts and there's even been talks about "distorted reality happenings", as I would like to refer to the ideas as, occuring throughout performances. Nothing set in stone yet, though. It's also very hard to plan concerts for my sort of music because it's not exactly something you can really dance to or even really enjoy in a traditional sense.

What do you think is in store for you in the future?

Well, I am making a lot more hip-hop beats as of lately and have been trying to polish off my skills as a hip-hop producer in order for me to be able to sell my beats or even just give out a few beats for exposure's sake to my favorite active rappers or just ones that I highly enjoy. I feel like I have to be more realistic about being able to make a living off of my music and my art in general and I feel like for me, hip-hop is going to be my way in to a livable career off of my music. I am confident that I have the ability to continue to polish off and work harder on my beats to hopefully make my way into a dream of mine and hopefully meet my idols while doing it. This doesn't mean by any stretch of the imagination that I even plan on retiring from my dark ambient or heavily experimental music as a whole, but if I succeed, it would basically just give me more means to create it.

What is an odd quirky fact about you?

The very first album I ever bought for myself was Jackpot by Chingy when I was about 6 or 7 years old. I would probably cry out of joy if I found my copy of it.

#artist interview #shaun hathaway #dark ambient #noise #small interview #music interview #trite ice records #cavern brew records

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