FVMusicBlog

Photo – Spirit Gun – Ben L Photo

We were lucky enough to catch up with Spirit Gun, following the must-hear EP release, ‘The Status Quo Must Go‘. Enjoy the full interview below.

Hi Spirit Gun, tell us about yourselves.

Pete Overstreet: Vocal/Guitar Oren Lev: Drums/Vocals Tony Burgess: Bass/Vocals

Who or what influenced your superb latest release, ‘The Status Quo Must Go’?

Oren: Really, just everyone around us. We can’t help but add our thoughts or opinions about what we see around us in our music. Politically, what we saw was pretty grim, and we knew other people felt the same way we did. So we wanted to make an album saying it was OK to not agree with what was going on and it was OK to make your voice heard. We never intended to become or be identified as a political band, but I think this album was just a reflection of how we were feeling.

Tony: I’m a fan of the Subhumans (U.K.) and Crass, who are described as Anarcho-Punk and have political messages. I like things that make you sort of think, especially if it’s a very dystopian kind of content, leaving you to wonder what the future holds. To be honest, I’m also someone who has trust issues with political figures and poor governance, which have plagued this planet for a long time, and I have been involved in some sort of activism in my youth. I was nine years old, living in San Diego when Rodney King was beaten by the LAPD, and I had just started questioning the whole system since then. Nowadays, I don’t care for the Two-Party system, let alone have any affiliation with any other political group, so instead, I just want to see it all burn, and that, to me, is what we are doing with our new album. It’s time for a new music revolution!

Pete: Rock And Roll, which is alive and well! We wanted to present something that gets you moving and shaking your hips and gets you thinking about what’s going on around you. It’s never a question of whether we’re right and they’re wrong, or he’s right and she’s wrong. It starts with a discussion; this person can think one way about a certain situation, and I may not agree with that, but we can discuss it and come to our own conclusions. Now, as far as violence or anything like that, I do not support it. We won’t always be unified by the fact that we all think the same, we can all be unified by the fact that we respect each other’s differences.

‘The Status Quo Must Go’ is a brilliant E.P. Why did you choose to release an E.P. over singles or an album?

Oren: It felt right. The songs on here all fit the theme and flowed well together. We tend to have super short songs and super long songs, and it’s a balancing act to get them to flow well together. We never really set out with the mindset that we would make an E.P. or an album, but we first think about the theme, then we see what songs work well with that theme and go from there.

If it’s three songs or twenty, we want to make sure the entire work is cohesive. We also have the luxury of working in our studio, so we can record as the mood suits, and we can get down what we are feeling in that moment, knowing there will be another theme to fit a song in if it doesn’t fit in this one. We really want our releases to capture what we were all about during that time.

Tony: As a band, we tend to go for themes when it comes to our material. Whether it’s about the city we live in, politics or even life situations, we like to tell stories through sequences of songs. Sure, we would do a single here and there, but making a record is something all three of us are familiar with as it pertains to how we grew up listening to music. It’s all about singles nowadays since everything is more available digitally. I prefer listening to a whole album since there is so much more than just the leading track.

Pete: We set out to provide every Spirit Gun release with the intention of not having a song get lost or overlooked. In my experience, I love an artist or band that leaves me wanting more, with the desire to see them live. Putting out recordings is so vital, but the live experience is essential for Tony, Oren, and Myself. Most importantly, with the audience because that is how we get a real connection. You would think live audiences have become an endangered species with the impact of the last four years. Socially, economically, and mentally, we want to help stir things up and inspire; we want people to sing our songs with us; it’s transformational!

Who would you most like to collaborate with?

Oren: Anyone and everyone! As much as we love making music together, it is always fun to get our friends to be part of it. In the song “The Heist,” we got our friend, Raul Perez, to lay down a killer baritone sax through the whole thing. We thought it took the song to a new level. So I love moments like that. We have a friend or acquaintance hanging out, and we get them to add something to a song. Everyone is welcome to collaborate with us at I3 Studios!

Tony: Collaborations are so much fun! Bringing different people into the project can add more layers to what you are accomplishing. With Raul joining us on the “Heist”, it was sort of an Avant-garde/organized chaos moment that we created in the studio which led to more experimentation with the saxophone. It was pure jazz. I would also be open to collaborating with some old bandmates just for fun.

Pete: Paul Meaney from Mute Math would be a dream collaboration, either as a music mashup or as Paul at the Helm for an upcoming record. Collaboration is fun as long as it doesn’t take away from the musical and lyrical message we are bringing to the table.

You’re based in Norfolk, VA; what’s the music scene like there?

Oren: It’s actually pretty great. It’s almost like a hidden gem. We’re not a massive city like Richmond or D.C., but we have our own vibe, and when out-of-town bands come through, they definitely pick up on it and want to come back.

If I had to describe our scene in two words, I would use diverse and supportive. We have so many different styles of music in the city, but the majority of the bands and venues support each other in a way that I think is pretty rare. We have a great mix of bars like Taphouse and 37th & Zen, larger venues like The Norva and a brand new one that just opened up called The Annex. That is just in Norfolk, in our surrounding seven cities, which have more bars, theatres, and amphitheatres.

We are lucky that we have so many great bands around that we get to watch, play shows with and call friends. From punk bands like the Nerve Scheme, Old Scars, and Killer Feels to Rock bands like Turncoat Syndicate and False Cape to eclectic bands like The Dunkirk Riots and Uglyography, there is an immense pool of talented acts in our area. (Also, to be clear, these are a small fraction of the venues and bands; we had to leave a bunch off the list!)

Tony: Norfolk is its own machine, both musically and regionally. It’s sort of well known but not as well as the bigger markets like Chicago or L.A. There is still a lot going for it, and then you can add the other surrounding cities. A blessing, yes, but it can also spell a lot of competition and animosity among people and city lines when it comes to having multiple municipalities in a general area. For sure, there has been some ebb and flow with the scene, as it is a grassroots thing when dealing with what’s happening in your neck of the woods.

Pete: I’ve said it before, and I’ll say it again: Norfolk has a rich history of musical artists. Gary U.S. Bonds, Ella Fitzgerald, Link Wray, The Waxing Poetics and so many more. Any city that has a music scene should be grateful because some bands venture forth without the blessing of one. For all the pros and cons of this area, bands can support each other, have some healthy competition, and beautiful moments await those who seek them out.

Life is overwhelming sometimes, we all know loss, pain, and disappointment. For me, it is the arsenal of music and connections with the people of your city that keeps me alive and prevents me from sleeping on the inside. I say sing that lyric, write that song, play that instrument that has been leaned against the wall. Let the Naysayers go to WaffleHouse, lol.

What’s your dream venue to play?

Oren: There are the kinds of iconic places to play and/or cool cities to play in. Personally, I would love to see Red Rocks Amphitheater or The Hollywood Bowl, but I doubt we would ever play there. I really want to play in cities we haven’t visited before. We mainly tour up and down the East Coast, but we would love to make a West Coast run in the future. Then there is always Europe. The venue isn’t as important to me as the city. We do what we do on a small stage or a large one, but before and after the show, it’s great to explore a new place.

Tony: I would love to play in the Hollywood Bowl if the opportunity presented itself, or the O2 Arena or even Coachella. But I’m also fine with the club scene as well. My wife and I went to Atlanta recently to see a concert at Center Stage, which was a pretty cool setup. I would also like to hit up Dante’s in Portland, Oregon when we have a West Coast tour.

Pete: My eyes are set on England. The Royal Albert Hall, The Jools Holland Show, anywhere in Ireland, & Scotland. I would also travel back in time to play CBGB’s in NYC, time paradoxes not included.

Other than music, what are you passionate about?

Oren: Without music, what is there? Just kidding, sort of not really. First off, it’s a balancing act because my main passions are making music and spending time with my wife and kids. I have to make sure they both get equal time. I also really like to travel and hit up roller coasters, so it’s convenient that we can usually plan trips or tours around cities that have amusement parks. I’m trying to hit an amusement park in all 50 states with my kids; so far, we’ve hit 11 states and counting.

Tony: When I’m not rocking out onstage, my wife and I would travel, hang out, be a part of our community, and, you know, enjoy every ounce of life in this timeline. I’m also a wrangler of two bratty dogs who require a lot of attention and walks.

Pete: I love my job because the people are great (it can feel like a Kevin Smith movie sometimes, lol). It also provides the stability and balance to travel with the fellas to bring the world our music. I’m very passionate about my family and friends. I love cooking since it can have some musical parallels. I love old scary movies, documentaries, and My cat Ahri (she is always present in the rehearsal space at my house, and she loves Tony). Visiting museums, art galleries, and outdoor scenic places are just some of the things I like to do when I am not playing music.

What changes would you like to see in the music business?

Oren: Oh man, that’s a touchy subject. Just like music, the music business ebbs and flows with the times and current tastes. When I say the “Music Business”, I’m talking about the highest tier of major labels.

Most of them don’t exist like they used to, but they still have some power. I think the main thing would be to go back to how labels would give artists time to develop. The label would give you three or four albums to build a following before they dropped you. Now it seems like you get one single, and if it doesn’t get a bunch of streams and likes, they are done with you. I think if you let an artist develop, you get a stronger return on your investment.

Tony: I’d say more money and support for the up-and-coming bands, but that’s just me. But seriously, there needs to be a better focus on finding material that is different on all spectrums instead of just putting the focus on one type of standard. There are over 8 billion people on this Earth; not everybody is going to be into Taylor Swift. People tend to find something new and uncharted from time to time, and there is a sea of new artists who are doing the unthinkable at this moment.

Pete: The availability of lower rates for vinyl pressing plants.The opportunity for independent artists to be featured on a show or soundtrack of a movie instead of hearing the same songs from decades ago utilized. Radio and streaming have become a dismal machine for background noise, with D.J.s not having the authority to curate artists and bands because we must follow the Status Quo. A driving force in the human race is the ability to communicate through music, art, poetry, theatre, and film. These things move us forward emotionally, socially, and spiritually in spite of civil unrest, racism, wars, division, and pandemics.

Art gives us the power to be all we can be in this life. A person behind a desk or a panel should not be the end-all-be-all. We get to choose how we look and how we sound, not rack up a debt that can never be paid back. The benefits of independent releases and the DIY spirit have more wealth and freedom than temporarily large record advances.

How do you feel about how the internet plays a role in today’s music business?

Oren: A massive one. I mean, the internet has been breaking and fixing the way musicians spread their music for the last 40 years. The issue is there isn’t one “Music Business” anymore; there are so many. An artist can be completely independent and, with the internet, be able to tour and sell records.

That is what you used to need a record label for, but now you can get eyes and ears on your own. Being a musician or an artist has always been a grind and a hustle since the beginning of time, but at least the internet can help the process by getting you introduced to a larger audience than you could get in your local community.

Tony: It’s incredible how technology has advanced when it comes to getting your music out in the world. At the same time, I can’t imagine what the music experience would be like in the next 5-10 years. The three of us witnessed the change in music with people listening to records, then tapes, C.D.s came about, and then here came MP3s, and now we’re streaming things online. Then, there is a resurgence of records and tapes coming back for nostalgia. Where we are as a collective is interesting, but I will make this one request: keep A.I. out of making music and leave it to the human people, lol!

Pete: It may not be the platform that would be the most exciting for me, but this is what we have to work with. As I’ve stated before, the ultimate goal is the live performance. We have to ask ourselves the following question: Is the influence of internet streaming services beneficial? If they did not exist, would we benefit more or less?

I’m grateful that we’ve been able to make the headway with the tools at our disposal.

What would it be if you could choose one thing for fans to take away from your music?

Oren: From this release, you can do it, whatever “it” is. Starting a band, changing your surroundings, helping someone out, or doing whatever you want to do, you can do it. Under all of our loud guitars and thumping bass, we try to always have a positive message that we hope spreads.

Tony: I want this record to be a soundtrack to the lives of the fans and listeners. I want this album to spark a spark in someone who was silenced all this time, and they can use it to stand up on their own two feet and resist the machine. I want this to be an album that allows people to rage and lash out, just like Nirvana’s “Nevermind” album did back in 1991. People are not in good spirits right now, we have political leaders who are not serving the people, inflation is becoming a big burden on everyone, and there is no resolution to anything at the moment. The least we can do is give hope and some sort of escape from the madness with our music.

Pete: I hope that the people who listen to our music (young and old) get the experience of vibrancy and renewal. This isn’t retro rock; this is brand-new music for 2024. I want to give back as so many artists have given to me. It’s a conversation without words.

What is your favourite song to play live?

Oren: It changes all the time, but right now, it would probably be a cover we do call “Archipelago”. It was written by our friend Herschel Hoover, and it’s got a great groove. It’s fun because we didn’t write it, so when we would usually zig, it zags. It keeps me on my toes because I still have to think about it sometimes since I would have probably done it differently, so I need to make sure I do it the way it was written.

Tony: The title track to our new release, “The Status Quo Must Go”, is my favourite to play live. That song is a rager, a straight punch to the face kind of song you want to have the crowd either dance or mosh to. It just makes me jump out of my skin and let it all out.

As for covers, I really enjoy playing “She” by Green Day. It’s been a dream of mine to play that song live ever since I first heard it.

Pete: That’s a really tough one. “Occam’s Razor” is definitely one we haven’t released yet, but it has super energy and has been a staple of our live set. It’s not usually just one song; it’s connecting songs together that could take you on a ride by creating interludes that tie things together. That is when things become real and full of life for me.

Because you get to filter through how you’re feeling that day when I’m saying those lyrics and playing those chords. The audience knows when you’re faking it. Even if it’s not perfect, I want it to be real. We are not trying to just duplicate the same thing over and over again. As far as my current favourite songs to play live, I would say anything from the new album.

Have you started working on your next release?

Oren: The next two releases actually. The next will be a reimagining of our first E.P., “New Eyes”. It will be its five-year anniversary next year, and we want to update and re-record it. We have better equipment and know-how now about the recording process, and it was released before Tony was in the band.

He puts his own spin on the songs, and we wanted to reflect on how they sound now. To keep it new, we are also combining it with an E.P. of all new songs we were working on called 2.5 because all the songs are no longer than 2.5 minutes. So we were going to call it “New Eyes 5 + 2.5”. It will come out in 2025. We’ve started tracking a few songs and plan to get back to it after this next tour.

The release after that we have a loose theme for and have already started recording demos of our ideas, so we plan on that in 2026.

Tony: That’s the best thing about having our own studio, which is that you can record whenever you want. When we are not playing shows, we are tracking new songs alongside writing. We try to get ahead of the game and record as much as we can, kind of like what we did with “The Status Quo”. We sort of started working on the album shortly after we finished the “The Antonym” E.P. As a band, you want to keep an arsenal of content on hand just in case. Definitely keep an ear out for us as there will be more to share soon.

Pete: We have begun working on the next release. As Oren said, it will be a reworking of our first E.P. There is going to be some cool stuff there. Being able to release a redux of “New Eyes” is exciting to me. We put that one out originally in 2020 during the pandemic, so I feel like we’ve been given a second chance to share the theme and message in those songs. Songs grow and evolve over time, and I’m very thankful to have made music with these guys. Thank you for interviewing us. We always have more to come, so stay tuned!

FVMusicBlog September 2024

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