Bug the Shit Out of People: An Interview with Gio of The N'ere Dowells

Gio is the frontman of Brooklyn rock band The N'ere Dowells. I've gone to more shows of theirs than I have any other band, and I feel very lucky to have attended some of their first ones. Their first full-length album, Are You Still Down, will be released in June. I interviewed Gio over e-mail about high school and his musical escapades. Hear them at their record release party June 7th!

What are some of the best memories of high school you can recall, now that you're nearly finished with it?

I think most of my best high school memories have nothing to do with high school. I mean the actual building itself has never really fostered any kind of significant moments for me except maybe tiny things, like there was this week where in lunch, this girl and I would come up with some crazy food inventions, just putting together everything that anyone had at the table. That was sweet and kind of gross, but the girl was hot and wore the coolest dresses. Most of my best memories are really outside of school seeing as all of my closest friends, including the dubs [the N'ere Dowells], go to other high schools. There was this one time we played a set in a high school gym. It was an art show and we only agreed to play because there were free tacos and I felt like it was some straight Nirvana shit and so we played. It sounded like shit, we overestimated the sound of a gym and they ended up cutting our mics, but we kept playing and apparently we ruined the art show. Everyone left, but we got paid and got to see some sweet art. After that we did some more sus stuff, but I think that's something that sticks out especially since it was in someone else's high school building. Makes me wonder if it's someone else that I don't know's high school memory.

Did you enjoy your high school experience?

I'm not really sure anymore. While I wake up dreading to go to school (i'm typical), I've acknowledged that as shitty of a time that I've had here, I know I'm gonna miss it. It's really bringing me down lately to be totally honest. I've met a fair amount of sweet people here and it's a little sad knowing you might never see em again ya know.

Was there a specific moment you knew you wanted begin the N'ere Dowells?

I think there was twice. The first time, in middle school, wasn't much of a moment. Jack just asked if I played an instrument and I told him drums. Jack had been a good friend of mine throughout middle school from hanging at the park and stuff. He later asked Dexter, who I had only known very little because we were in the same gym class. Dexter played guitar as well and I never really thought about being in a band before that. I'd like to say that music was always a passion, but it wasn't. I had played in like kids jazz groups growing up, but that was as far as my music endeavors went. We went to guitar center to see how quickly we could get kicked out. Jack played us Smells like Teen Spirit and this was the peak of my Minor Threat phase so I think then it really clicked. We were actually a punk band named 'SHANSHAN' for a while. It was crazy, but if we ever get big there's some google bait shit for Nardwuar or somethin.

The second time was after I took a long break from like a social life. I had been going through some stuff and just staying home, leaving Jack and Dex to play without me. Jack made me these mixes to make me feel better and one of them was a compilations of like 40 songs he had written for when I was ready and at that point Dexter picked up drums just because I wasn't there. In that time I also started recording just shitty little piano tunes that I wrote, trying to be Daniel Johnston, and all that kinda formulated to make what we are now. When I returned, they were like hey man we really like your voice, you should sing. I was really against it at first cus I thought singing was just really lame and girly. I eventually agreed because I wanted to try screaming like Avey Tare.

Has living in Brooklyn affected your writing?

I'm not sure if it's affected our writing as much as it's affected our attitudes, which I guess in turn affects our writing. We're all really prideful of Brooklyn. Not in the way like 'oh shit, we're from Brooklyn, gotta be tough', but more like just defensive of it because of all the bullshit that's been going on. Besides the obvious gentrification to complain about, the music scene gets to us. Just all these yuppie ass guys moving in and saying they're Brooklyn based, like that's supposed to mean something to me. It's all drowned in reverb and exactly like everything else right now. Like na, and the fact that they all sing about the beach and being chill and summer and all this shit that has nothing to do with Brooklyn. I'm all about not burning bridges, but I think we wanna put Brooklyn on the map for our demographic the way that Biggie did. Like you think Brooklyn bands, you think of Grizzly Bear, Tv on the Radio, MGMT, The National, etc, all these Brooklyn based band, none of them actually from Brooklyn. These bands are all mostly all great, not knocking any of them, but nothing says Brooklyn to me besides their bio. The whole thing I think contributes to the harder side of us. 

Were you influenced by the NYC teen rock bands that came before you, such as Fiasco and Banzai?
ha, totally man. I'm a little shocked you know them, I always thought they were kind of enclosed within this Park Slope circle scene that was going on, but yeah. Fiasco and Banzai were literally my favorite bands in middle school. They were really the reason I wanted to start a band in someways because they were doing it so right. I went to so many of those shows and they were straight up idols to me so knowing them made it all the more stimulating as we were trying to come up. I still see some of them around from time to time and it ain't the same, but that stuff will always have a place in my heart. I'd still call Fiasco one of my favorite bands. I can play pretty much all of God Loves Fiasco and while we never got a chance to play with them, I'm still hopeful.

Do the N'ere Dowells' music or lyrics emerge first?

The music. We're constantly writing, but I wouldn't call myself a poet or lyricist of any kind. Melodies are usually worked out very early, but lyrics don't come til we finally decide to sit down and get them done. Like on the album, I had a bunch of words I had been saying for a good portion of the songs, but I didn't actually get it down until it came time to recording.

I've noticed a 60's doo-wop influence in your music. Was this intentional?

We love all of that stuff, it's really sweet when people are accurate about your influences. We're really huge on 60's doo-wop, especially on the r&b side of the genre, but I don't think any influences are ever intentionally inserted into songs. I mean we never write a song saying, I want this to sound like Marvin Gaye or Blowfly or Curtis, I think it naturally happens. Always reminds me of Act Naturally by the Beatles. Getting prestige and having people like you for doing things unpretentiously.

Do you enjoy performing, recording, or creating music most?

Creating without a doubt. I think I can speak for the band when I say that we hate recording. It's so strenuous and time consuming. We've definitely gotten much better at the process, but we always end up mad at each other. It still sucks. Playing live rules too, but there's always such an expectation to it. Sometimes we play to less people then we'd like to and more recently it's started to not affect us, but still we get bummed out and mess around. Also just the idea of showmanship and working that out. Sometimes I just don't feel like talking. Writing the actual songs is gratifying. We mess around a lot, but it still works out

What do you consider playing a good show?

Having people come up to us after and actually tell us that they liked us. Preferably a large crowd, but even when that's not accessible, as long as people are into it, it's good to us. We aim to please live. We like to play like we're playing to a crowd of all women.

Do you prefer playing all ages shows? How does it feel playing in a venue you are not yet allowed to attend as an audience member?

I think I only prefer it because all our friends can come. It's a strange thing to me. I mean, the 21+ DIY places aren't necessarily nicer so while I used to feel a sense of accomplishment getting 21+ shows, at this point it doesn't even matter to me. The whole 21+ thing just sucks. I mean it's not that we have a problem getting shows there because I'd say we've built up somewhat of a rep around the circuit. The thing that's worse to me is that we look inadequate due to a lack of a large draw. But what's the difference between an 18-19 fan base vs. a 21+? I get the whole alcohol deal, but my real issue is how is a band supposed to build a 21+ fanbase in order to play these places if they aren't given a chance to play there in the first place? It feels like a bummer, but I think it's definitely gotten better somewhat

How have your parents dealt with your musical endeavors? 

I guess well. They're all really supportive and actual music fans so they don't make it seem like just a pipedream. Being 17 though, I'm sure they get suspicious what we do, ya know da roxstar lyf ~~ sex !! drugz %% all dat, but they're behind us completely. Still, it's awkward as shit when they come to shows and there's drunk teenagers and all that going on.

In my opinion, you led a New York City teen rock band scene, playing so many shows to a bunch of the same kids and inspiring them to create bands. But now lots of the kids are away in college and the all ages shows are less frequent, and that scene has kind of dissolved. How does that feel?
For me, it fell apart as quickly as it came together. The real downfall of it besides some of us moving on was when people started getting their drinks taken away, but I suppose I'm humble about the whole thing. It feels so ephemeral now. Maybe the novelty of it makes it mean all the more. But I'll forever miss all da ~~druunk l@diez~~~ r.i.p.

If you could time travel, what decade would you escape to?

I'm never sure about this question. A few years ago I would've said 60's, but that also omits every band and thing after that decade  that I enjoy. I like now. I mean, there's nothing really super great, world shattering, life changing shit being put out, but right now there's just so much to discover and I have the internet to find it. I have everything I could want right there, and while I'm all about putting down the technology for a while, it's still crazy to me. I think if anything I'd probably choose the 90's. I'm already familiar with it and though I can't remember all that well, the Knicks ruled, Pavement and Smashing Pumpkins were still breathing to fight, and The Breeders were on the radio.

Do you have any advice for young artists?

Bug the shit out of people. I don't understand why, but people get annoyed all the time when you send them something. Just keep pushing it and annoy people until they like it. Get your art out anyway you can and don't take yourself too goddam seriously. piss people off if you have to

What can we expect to hear on your forthcoming album, Are You Still Down?

We're working on getting the "Parental Advisory" logo on it cus that's totally badass, but it might not work out. It's us. It's loud, but we got some sexy joints. People call it garage, which I'm cool with, but I wouldn't know what I would call it. It's a tiny piece of all of us and a tiny piece of Brooklyn and a tiny piece of our friends and our parents and their parents and everywhere we hang out and everything we know. it's a pretty big deal to us so we hope people can just luuv it and get it out. i ain't gonna talk about influences or compare it to anybody else cus i never really liked comparisons, but i also want to hear what other people think we're in to after listening.  It sounds exactly how we wanted it to sound. It's our first lp and we're getting CDs pressed, vinyls made, and the whole nine. we're tryna make it hard for these other wackass bands to function. word is bond, it'll be worth the time.

Photo by Sam Williams.

The Whole Equation of Anything: an interview with Jeffrey Lewis

Jeffrey Lewis is an anti-folk icon and visual artist based in New York City. All his art forms can be experienced on his website. After I purchased a zine he created ("Sonnet Youth"- a collection of sonnets and drawings inspired by Sonic Youth's Goo), we chatted over the merch table following his set at the Music Hall of Williamsburg during that February blizzard.

How are you?

Very well. I warmed up nicely even though it’s very cold and wintery out. Being on stage is a good way to warm up.

Was there a specific moment that you can recall in which you knew you wanted to play an instrument or write a song?

You know, I’ve never considered myself a musician. I went to LaGuardia as an art major and I’ve always been into drawing and making comic books and I started playing at open mics because it was a good way to draw a lot of people. Because I would just hang out for hours at the open mic and draw a lot of different performers and my sketchbooks filled up with drawings of musicians and then it was sort of like, well, I can make up a couple of songs a week and just play the open mic also while hanging out drawing people, too. So I sort of just started like that. And then, somewhat to my chagrin, the music just started developing and having a…I sort of started ending up having a career in music rather than a career in drawing, without really having any experience or much ability in music. But in a certain way, I think that that maybe made people more interested in my music. Because like everybody else knew what they were doing and I was kind of like the guy who didn’t know what he was doing, which maybe made me sort of stand out more among the crowd, whereas perhaps with the artwork, maybe, a lot of people know how to draw. I don’t know. So anyway, I, yeah, I feel like I never really decided “I’m going to become a musician” or a songwriter. But I didn’t fight against it either. I was just like, alright. This is working out. Let’s just keep doing this.

Is ignorance bliss?

Oh, definitely. Absolutely. I’m so glad I’m stupid.

How has growing up in New York City affected your art?

I think growing up in New York City has been really important for me in so many ways, and I never understand it when people are like “Oh, I could never have kids in New York.” Or “I wanna move out of the city before I start a family”. Because I think it’s such a wonderful experience to grow up with so many different kinds of people, so many different kinds of food, different kinds of music…I always was just a product of public schools and you know, that exposure to different people, I think, you know it sort of can’t help but inform your art in some way. I think the most important things are the things that you don’t even realize, like the things you take for granted about what you do, but once you start traveling the world, you realize that other people think what you do is like, “Oh, you’re so New York!” or you’re so whatever the hell it is. You know, you’re so Jewish or you’re so white or you’re so short or you’re so…whatever the heck it is. And you’re just like, I don’t know, I’m just me. I’m not any of these things. I’m just being myself. But once you are in a context where suddenly people make you feel like that is something rare and special that, you know, New York City is so small, and while we’re here, it’s our entire universe. When you go out into the rest of the world, you realize that it’s such a different universe than the rest of the world and it’s more special than we have to give it credit for while we’re here in the midst of it.

How important is individuality?

Well, I don’t know. That’s a tough one. Like, everybody’s an individual so in some ways, I feel like individuality just alienates you, and the more individual you are, the harder it is just to hang out with people, and you sort of have to learn to compromise yourself just for the sake of being a human being. And I feel like that’s sort of the toss-up that we all deal with in our lives is how much are you willing to compromise what you wanna do in order to be part of a group of other people or to have a relationship with somebody, or to have a band with somebody, or to be friends with somebody. And, you know, if everybody was just a total individual and just did anything they wanted to do, everybody would just be a baby. I feel like part of growing up is maybe not being so individual, but kind of learning where you fit in to this community with other people. So it’s sort of like…I don’t know. It’s a tough thing. I feel like people place so much emphasis on being an individual but everyone is an individual. If they just kind of relax, maybe their individuality would come out more? But maybe that’s just easy for me to say because, I don’t know. It’s hard to say. It’s a weird question. It’s a good question. It’s actually an excellent question because I’m going to be thinking about it for a while.

Do you have any advice for young artists?

Well, let’s see. One thing I’ve learned is that it’s very easy to make art because all you need to do is spend a lot of time at it. I didn’t realize that until I was about eighteen. I had been drawing all my life but it wasn’t until then that I realized there was a very simple equation: draw more, you get better at it. That’s it. You don’t need to go to school for anything. No matter what you do, if you do it for four hours, you’re much better than if you just did it for two hours. And that’s it. That’s the whole equation of anything. But it’s so hard to do one thing a lot, and not be distracted by other things. But other than that, pretty much anything is just that easy. If, you know, if you wanna be an artist as your job, well, if you can actually make art for forty hours a week, like a day job, 9-5, you’re gonna get so good, that like, you will be able to make a living at it. It’s just like, can you actually make art for forty hours or more every week? That’s the challenge. But getting good at it is actually kind of easy. Just do it a lot, no matter what it is.

What is the meaning of life?

Probably, it’s probably totally meaningless, meaningless, like no meaning, just complete meaninglessness, but that can be a good thing, because otherwise you’d be really stressed out all the time. That you’re like, screwing everything up, ‘cause of course you’re going to screw everything up because it’s always your first time doing everything in life, you have no experience in anything because it’s your first time being alive, but if it actually mattered and it meant something, then you’d really be stressed out all the time. But luckily, it’s all totally like, you know, whatever, we’re all just gonna die and it doesn’t matter at all. But that doesn’t have to be a depressing thing. That can actually be pretty cool. It’s like okay, so what?  Like, alright. That’s cool. That takes the pressure off.

Photo via BlitzGigs.

She Obliterated Everything She Kissed

I am perplexed by the current popularity of electronic cigarettes. Is there smoke? Are they better for you than real cigarettes? But most importantly, can they be recycled?

I don't know the answers but I do know this NJOY electronic cigarette commercial is amazing. It features the rocking, rebelling, frequently erring, and always inspiring Courtney Love. She is juxtaposed with haughty bourgeoisie ladies tsk tsking her bad seed ways.



(I hope I'm not subconsciously encouraging smoking. Don't do it, kids.)