Interview: Adam Levy (Bunny Clogs)

Bunny Clogs (photo by Youa Vang)

Bunny Clogs (photo by Youa Vang)

Adam Levy made his first foray into the world of kids music with his band Bunny Clogs way back in late 2008 with the album More! More! More!.  (That band name, by the way?  It's a pun on Levy's primary musical outlet, his band The Honeydogs.)  That debut album had a distinctive, eclectic sound and some out-of-nowhere lyrics and musical tidbits, aided no doubt by the fact that Levy created the album with assistance from his two daughters, grade schoolers at the time.

Fast-forward six years or so.  Levy's daughters are in or approaching high school, and the follow-up album I'd never expected would happen showed up.  Whales Can't Whistle is maybe a little more streamlined, slightly poppier than its predecessor, but nobody would ever mistake the new album for bland, cookie-cutter music.

Levy recently sent some thoughts via e-mail about the latest album, musical parenting memories, and the good and bad of making an album (and playing live) with your kids.


Zooglobble: What are your first musical memories (growing up)?

Adam Levy: My parents didn't have a big record collection... but what they had got played a lot.  I used to dance/march around the house with a Monkees ukelele guitar, air uke-ing to Herb Alpert and The Tijuana Brass's "Going Places."  My hip Aunt Judy brought Rubber Soul to my folks in 1967.  That got major air time for a few years.

What are your first parenting musical memories?

Big sister Esther was breach in her mom's stomach.  We put Bach cello preludes on headphones to mom's belly for a few days and she flipped around... the girls' mom and I listened to music constantly.  Lots of old funk and soul.  I remember my girls going bananas for Fountains of Wayne's "Red Dragon Tattoo."

How did the first Bunny Clogs album come about?  What inspired you to make that album?

I had just gotten my first ProTools studio rig set up at home in 2003.  Esther would have been about 4 and Ava Bella 2.  I would try to entertain the girls as I was figuring out the equipment and would make these danceable, amusing kids' songs.  The girls would chime and sing and giggle and I'd record everything and made it a family affair.  I kept writing these songs in the midst of, and as a break from, more "serious" musical endeavors.  Friends would come over with kids for dinner and I'd play them the songs and folks would laugh and the kids would jump around like little squirmies.  After a while I just thought, "maybe I have something" -- the songs were more absurdist, dance-beat and adult-friendly, less acoustic-folky than most kids' music.  It alwasy took a back seat to my main songwriting muse, The Honeydogs... but eventually I just resolved to finish it and put it out in 2009.

Whales Can't Whistle album cover

Whales Can't Whistle album cover

What led you to make Whales Can't Whistle an animal kingdom-themed album?

We made a food-related record for the first one.  I always incorporate the household characters and stories and silly phrases we used into the music.  We are very into animals at our house and have been since the girls were small.  I find it easier to write when I create some parameters and goals.

Your daughters were actively involved in making this new album -- what was their biggest contribution?  Was Isaac's participation anticipated, or more of a surprise?

The girls are singing all over the record.  Ava Bella (14) even recorded herself in some cases!  She also designed the cover art. Isaac's participation was a necessity.  He's 12 and a natural.  He plays like an adult.  Amazing.

What was it like having your daughters participate so much in what you do as a career?  I'm assuming it was lots of fun, but did it also lead to tensions at times?

It's amazing.  We've been performing publicly together since they were about 10 (Esther) and 8 (Ava Bella).  Sometimes I have to encourage them to perform by increasing pay... sometimes they are not up for it.  They tease me a lot.  I get back at them by being a complete dork on  stage.  Ava Bella who is 14 now has expressed more interest in music than her big sister.  I have loved watching her do musical things that are not with family.  

You wear many different musical hats -- what particular musical itch does Bunny Clogs let you scratch?

Bunny Clogs fills a need to simply have fun making music and sharing it with my own children.  Much of my music is conceptual, cerebral and sometimes deals with serious subjects.  After I lost my son in 2012, the need to find joy in the midst of great grief and life-reassessment became very necessary.  Last summer the girls spent a couple months leisurely making the record.  We had so much fun.

Bunny Clogs (photo by Youa Vang)

Bunny Clogs (photo by Youa Vang)

What 3 (or 1 or 5) "not-for-kids" albums (from any artist) did your kids absolutely groove to growing up?

As I mentioned, the house the girls grew up in oozed music... all of The Beatles stuff.  They have fond memories of Burt Bacharach's Butch Cassidy soundtrack.  The Jackson 5.  

What's next for Bunny Clogs (and you)?

I'd love to do some kind of animated film [and/or] a book.  Depending on the girl's energy, perhaps more touring.    As mentioned I'm ready to be Reuben Kincaid to Ava Bella's musical projects.

Photos by Youa Vang.

Interview Sandra Velasquez (Moona Luna)

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Up above in the title for this interview, I've written "Moona Luna" after Sandra Velasquez, because if you're reading this website, you're probably most familiar with the New York-based Velasquez as the mastermind behind the bilingual Spanish kindie band.

But like many musicians, Velasquez wears a number of hats, and so it's just as likely that the intrepid Google-r will eventually find their way to this interview because they're fans of Velasquez's band Pistolera, the Spanish-language band she founded in 2005.

Or maybe you grooved to "Cheerleader," the leadoff single from SLV, the band featuring Velasquez and multi-instrumentalist Sean Dixon.

So there are a lot of reasons to listen to Velasquez, and I'm offering you one more -- the interview below, completed while Velasquez was on tour, and in which she talks about starting her musical life as a reluctant keyboardist, the impact of songwriting on her life, and the different audiences she plays to.


Zooglobble: What are your first musical memories?

Sandra Velasquez: I was forced to play piano as a child. So my earliest musical memories of are being forced to practice and playing piano recitals in lace dresses.  I begged my parents to let me quit piano, which they did when I was 13. I bought my first electric guitar and started taking lessons immediately to learn all my favorite Nirvana, Hendrix, and other rock songs. Incidentally, the first band I played in when I was fifteen was as a keyboardist. We mostly practiced instead of gigging. Those were wonderful years because we were so naive in our freedom.

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What inspired you to form Pistolera?

I moved to New York City the day after I graduated from music school in 1999 and spent that first summer completely in shock of the lack of Mexican and/or (more importantly) Chicano culture.  I always said that I had I stayed in California I would have just played in a rock band. I started Pistolera out of a longing for trucks driving by with accordion melodies blaring out of them, for taco shops with banda music leaking out of the kitchen. But of course being a rocker at heart, Pistolera was always a blend. Latin music with rock attitude. 

How did the birth of your daughter inspire Moona Luna?

I could have never started Moona Luna without my daughter. I would not have known what to write about! I am the kind of songwriter that writes from personal experiences. I can't make stuff up. 

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What have you enjoyed about writing songs for Moona Luna as compared to writing them for Pistolera?  What has been more challenging?

Writing for Moona Luna has taught me that at the end of the day I am a songwriter. Not just a songwriter for Pistolera, or for one demographic. I enjoy writing songs. I'm addicted to melodies. Writing a good song can be challenging no matter who you are writing for. Some songs flow out easily and others you have to work on, put aside, and work on some more. I did find that giving myself a theme for the second Moona Luna album (Vamos, Let's Go!) helped me write.

Has your songwriting for families changed as your daughter has grown older?  As you've grown older?

Now that I have multiple bands I have found that the songwriting just changes with time regardless. There is a the perception that I as the songwriter change the music, but lately I have been feeling like it's the music that changes me. I grow through the music.  It is all equally valid and growth-inducing. 

This may be difficult to answer, but are your Moona Luna audiences mostly filled with families for whom English is a second language, or are they more families for whom English is their primary language?

It really depends on the show. We did a residency in Santa Barbara where we played for underprivileged communities and most were bilingual if not mostly Spanish speakers. This may sound sad, but going to concerts at $15 a pop tend to be less accessible financially to families who do not speak English. When we play free city parks concerts in New York City the non-English speakers tend to be the childcare workers.  This has been my experience. 

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Are there gaps that you see (in terms of musical styles, subjects, audiences) that "kindie" doesn't serve well enough?

Kindie audiences, or more specifically, kids, don't tend to favor dark or slow music in a live show scenario. This is just my experience with my own 7-year-old daughter. She likes upbeat music. I do too, but I also love slow, moody, minor and diminished chord music. This is why it's great to have multiple projects because it's hard to satisfy all of my musical cravings with just one band. If I just did Moona Luna I would feel more like an entertainer. Not that there is anything wrong with that, but I don't always feel cheery -- do you? It would be unsatisfying for me if my only musical experience was to put on a happy face and dance. I have many moods and thankfully, three bands to express them all. 

You recently released a song -- "Together" -- with Secret Agent 23 Skidoo.  Are there other musicians you and Moona Luna would love to work with?

I loved collaborating with Skidoo. I heard his voice in my head when I wrote the song so I was pretty happy that he agreed to do it. I really love Lori Henriques' new album. She would be fun to collaborate with. 

You have lots of ongoing projects going on -- Moona Luna, Pistolera, your solo album -- what's next?

At the moment I am really focused on SLV, which in the beginning was billed as my "solo project" but it's not really that, though the band name is my initials! It's really a new band and an equal collaboration with my drummer Sean Dixon, who is the drummer for the experimental electronic band Zammuto. (Check them out!). Since we recorded and released an EP with Meshell Ndegeocello in 2013, we have been working on our debut album. It's been over a year and I'm happy to say it's done and the first music video is filmed. It will come out this spring and you can expect to see us on tour this summer. I've started a new Moona Luna album too and hope to escape the cold of NYC and finish the songwriting part of it in February somewhere warm.

Photo credits: Shervin Lainez (Sandra Velasquez), M. Sharkey (Moona Luna)

Interview - Suz Slezak

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Suz Slezak may be best known as an integral part of the indie-rock-folk band David Wax Museum with her husband David Wax, but with the solo release next month of Watching the Nighttime Come, the singer and fiddler steps out into a new role, that of gentle lullaby artist.

Watching the Nighttime Come successfully balances many challenges with lullaby albums -- sonically interesting without being distracting, making old songs sound new (and vice versa).  Slezak, who's handling preorders for the album via PledgeMusic, chatted via e-mail about her musical upbringing, creating an integrated musical and family life as a musician, and all you really need to have when touring with a baby.


Zooglobble: What are your first musical memories?

Suz Slezak: It's hard to say what my first musical memories are since music has been so integrated into my life since such an early age. Here are a few:  demanding piano lessons at age three when I found out my brother was going to start taking them; listening to my favorite record, "Seven Little Rabbits," on the record player; playing the piano with a pacifier in my mouth; singing rounds in the car with my whole family; hearing fiddles and banjos through the walls of a tent while camping out at an annual old time festival down the road from my house in Central Virginia. 

What made you want to make music for a living?

Honestly I was well into my twenties before I thought making music for a living was a real possibility. I knew I wanted a life that was interconnected -- I wanted my kids and my partner and my work to all be intertwined.  I also wanted a creative job that included travel and community.  So I feel very lucky that through playing music, all those things have become a reality.

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Your new album grew out of a collection of lullabies you'd recorded for friends who were having babies -- what were some of the songs on those handmade CDs and how did you record those?

That first collection was made in one evening in a tiny studio in Somerville, Massachusetts. I recorded everything myself: the vocals, the fiddle, the harmonies, the fiddle harmonies, and a simple guitar part too.  Some of the songs included "Tender Shepherd," a favorite childhood round; "Ubi Caritas," a chant from the ecumenical community in France called Taize where we visited as kids; some of my favorite fiddle waltzes; and "Say Darlin' Say," a traditional song recorded with my first old time band, Mill Pond Nine. 

Besides recording it in a studio, how did writing and recording Watching the Nighttime Come differ from those early lo-fi recordings?

The main difference is that this new record was really a collaboration between myself and two amazing producers, Josh Kaufman and Nate Martinez. The first recordings were really just me, my fiddle, my guitar and an engineer pressing play. Watching the Nighttime Come has textured electric guitar and synth sounds, ambiance from a simple percussion set up, and playful woodwinds and harmonica. It's got David's voice in there plus gorgeous harmony vocals by Lauren Balthrop. And half of these songs are written by me, so it's exciting to have them come alive.

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How did becoming a mother yourself affect the recording?

Oh gosh. Well, being pregnant was one of the reasons I finally hunkered down and made this happen. I knew my time would become less my own once the baby was born, so there was a pressure of getting it done before she arrived. However, after the first session in the studio when I was six months pregnant, we realized we were getting into a bigger project than we'd originally thought and knew we needed more time to work. So when our daughter was just a few months old we traveled by train back to Brooklyn and, between naps and nursing breaks, finished the record. I think becoming a mother also puts a new spin on the significance of making music, especially recordings. I love that my daughter and maybe even her children and grandchildren will be able to listen to them one day and imagine me singing to them -- which I am!

Your PledgeMusic video shows you giving a video tour of the David Wax Museum's touring van.  Did you pick up pointers from touring with a child before starting the fall 2014 tour?  What did you learn while on the tour?

We are so lucky to know a small but growing posse of touring moms. The person we owe a great deal to, however, is Rhiannon Giddens of the Carolina Chocolate Drops.  She has been an inspiration to me for several years, not only traveling with two kids, but even using cloth diapers on the road! She taught us that you really only need two things: diapers and the carrier. The rest you can do without.  Coincidentally, Rhiannon is releasing her own solo album  (with the renowned producer T Bone Burnett) on the same day (February 10).

Anais Mitchell is another touring mom who advised me before Calliope was born and reminded me how flexible little ones actually are. And I'll never forget  an article I read about Ani DiFranco who said touring was actually easier in many ways than being at home since you have a whole host of helping hands when you're on the road. And I've found that same thing to be true. Not only does the baby nap well in the car, but there are plenty of loving arms to hold and entertain her any time of the day or night.  We call the band members her Runcles (Road Uncles) and they've been a big part of her life.

And of course we couldn't do this without the amazing help of my dad who retired last year and comes on most of our tours to watch the baby. He's named himself Nanno (a male nanny) and puts up with smelly green rooms, late nights, and long, long drives for the good of the family band. 

What's your favorite song (or two or three favorite songs) to sing to your daughter?

You know, I end up humming to her more often than actually singing, which means I'm making up new tunes each night. But one of my favorite songs is "Didn't Leave Nobody But the Baby" that Alison Krauss, Gillian Welch and Emmylou Harris made famous in O Brother, Where Art Thou?. It's got such a great soothing, rocking rhythm to it. The words are a little sad though, so I've been making up my own more baby-friendly lyrics. 

What's next for you?

Well, my main project, David Wax Museum, is putting out a new album later in 2015, so we're gearing up for another couple years of touring with that record.  So that's the realistic next step. But we're often fantasizing about ways to spend more time in L.A. and Mexico. And I'm always trying to figure out how to make more fiber art.  But for now, I'm looking forward to my "Sweet Love and Lullabies" tour to release Watching the Nighttime Come. We'll be playing shows in New York, Boston and Northampton on Valentine's Day weekend.

Photo credits: Jo Chattman

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