To say Justin Pearson is busy is an understatement. Being a member of bands such as Swing Kids and the Locust along with Holy Molar and many others, you could say that would make him a pretty prolific guy, a statement reinforced with a recent book, new album and 2 remix albums (buy them all. Now. There will be links at the bottom of this article) and the recent reboot of 31G's website. Combined with a win at the 2010 San Diego Music Awards for Best Hard Rock Album with "When I grow up I want to fuck like a girl", we have ourselves a prolific and acclaimed musician.Justin Pearson kindly took some time out from his busy schedule to answer a few questions for us about All Leather, new releases and the recent reboot of 31G's website.
First off, how did the band form? What was the inspiration behind the sound?
The band started from discussions between Nathan Joyner and myself about how electronic dance music, pop music, and things of that nature had elements that were cheap, and represented the lowest common denominator. Really the inspiration was from our subconscious, it was pushed towards what we do by the sheer fact that there is a lot of crap out there for the mainstream. For me personally, it was also a rebuttal to cheap DJ culture, where there is a person "playing" someone’s music.
How has the addition of Zach Fiocca affected the band?
He was originally added as percussion, and had also been playing electronic drums. But since we started the newest journey with him, he has added acoustic drums, as well as electronic drums, and occasionally he plays the synthesizer. His addition has thickened the sound as well as added the much needed dynamic that a two or three piece band might need.
You have a very unique and some would say “challenging” sound, how has the reception been so far to the band?
Good I suppose. Either people love it or hate it. And to me, that beats being in the sea of "eh, whatever" bands.
How did “When I grow up I want to fuck like a remix” come about? Are there any particular tracks you feel came out best?
I feel that the nature of dim mak has this sort of cross promotion idea, so that was how it came about. there is the gritty punk aspect that we embody and then there is the whole DJ world where at times, it seems that it gets a bit mundane and is in need and even sought after to add that element to dance music. As for particular tracks, I have to say that I appreciate all of them. It’s another artists take on the material that which we created. However at times, some of the formulas are a bit predictable, which can be a bit depressing. Over all I think the remixes that were done for us are great. I just with at times, there was more creativity in what is "supposed" to happen with a remix.
What plans do you have for the future regarding new releases? Also, any chance you’re gonna come over to the UK soon?
We are currently working on a new album with our new line up. We also did a track that Steve Aoki will be contributing on, called “we eat gauche caviar" that he will be releasing in due time. As for coming to the UK we have been ready to do so for quite some time. But nothing is panning out just yet. But we hope to get over there soon.
How was the tour with The Bloody Beetroots? How did that come about and has that affected how you view or make music?
I’d like to offer constructive criticism with this answer here. So please note, this is not me bashing bob rifo in any way. I think the tour I did with them was strange. For one, my part fell into the category of glorified karaoke. Originally I thought I’d be singing over instrumentals, which even that is odd for me to do. But I was simply singing over Cd's of selected tracks that already had vocals on them. Don’t get me wrong, the tour was awesome and felt more like a vacation than anything. I'm used to working on tour, playing full sets, loading gear, etc. but this was just a few songs here and there during their DJ set. And as far as how it has affected my view of music or how I create it, I’d have to say that it’s made me even more of a fan of live bands who play their instruments without backing tracks.
How and why did you start 31G Records?
I started three one g as a backlash to working with smaller labels that were altering art, not paying royalties, and creating merchandise without asking the bands i was part of. I figured I could do as bad if not better than the labels I was working with at the time I started three one g. As far as how, it’s quite simple. I just did it.
What would you say is the ethos or aim of 31G Records is?
This is like asking, what is the meaning of life? So let me just say that over all, three one g is a means of community, and a family of creative artists and like minded people.
31G records’ website has had a reboot recently, what were the reasons behind this
Sal and I who run the label parted ways with the person who did the web based stuff for three one g. So we started to work on a new site with a friend locally. One thing led to another and eventually we defeated the obstacles we faced and the site was relaunched. The new site consists of more elements, multimedia elements I guess. Also there is more content and more info on the products and art we are part of.
What were these obstacles?
The obstacles are this, we have no money, and make no money. Sal and I don’t have web design knowledge so we are limited. However our good friend Marcus, assisted us with getting a new site up that we can operate. But we also have online merch going through our distributor and it’s not the most customer friendly way of selling stuff. ie. no paypal, no "continue shopping" option once you get into the shopping cart, etc.
Being both an artist and label owner you must see the music industry from both sides, how do you feel the industry is at the moment for both bands and labels? Does one side have it easier than the other?
It’s fucked up for bands for sure. At least in the U.S. where we are also facing an economic crisis. But for independent labels, we are also facing a lot of obstacles, sort of a redefining of what a label is and should be doing. For me, I can say that neither the band side of the label side has it easier. I just realize that i should have become a DJ and started a blog and id be set at this point.
What advice would you give to bands trying to gain a foothold in the music industry and also for small, independent labels?
Just try to be honest with what one creates. That is the best thing i could suggest. So many people try to copy, replicate, or live up to something that already exists. For me, if it exists, and it’s good, there is no need to do the same thing that someone else is doing. That, I’d like to see more people paying attention to.
Where do you see the music industry going, both for major labels and independent labels?
I can’t answer this.
What actions are you taking personally in regards to these changes both from the perspective of a label and that of a band?
One thing I have been doing is questioning myself and my involvement in what I do. I think that more often than not, artist don't do that. But if I feel what I'm part of is legitimate, or worth it to the world I live in, than I’ll continue on doing what I do. For one, pertaining to three one g, I don't make any money. As a matter of fact, I pay to run the label. With that being said, I do it since what I have contributed as well as the other artists as well, all seems relevant to me. Therefore, my efforts are justified. Same is applied to the band side of things. Really, when i think about it, what i do on all sides of things, bands, label, even writing and publishing literature, it’s all sort of like if I was interning for myself. I'm learning, as well as sticking to my guns and at the end of the day, everything pays off in a way that one can’t measure financially. So there we go, keep an eye on these guys, they make some damn good, challenging music and we'll let you know when they're on the way to the UK.
Links to buy their lovely lovely stuff:
"From the Graveyard of the Arousal Industry" -JP's book
"When I grow up I wanna fuck like a girl
Other links you should really click:
31G Records (new site looks lovely right?), donate for the compilation, it's worth it.
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