Takes One To Know One… GABRIEL HART > 5/17/12
Jail Weddings release their new EP (or mini album if you count the four bonus tracks on the download) “Four Future Standards” this month. They are well aware of how audacious the title is, and stand by it with all the sense of humor of a well-timed road kill. This EP bridges the gap between 2010’s “Love Is Lawless” and next year’s “Meltdown” full-length, but it’s a bridge with legs, folks…Frontman Gabriel Hart is interviewed here by kindred spirit The Crooked Cowboy, and as you can see, all sorts of squirmy worms occur. Read on.
Crooked Cowboy: Hello Sir… What inspired the beginning’s of the ensemble?
Gabriel: This story has been told a thousand times, so allow me to write a dumb poem about it:
I wiped my slate scary, scary clean
After life and the girl – very, very mean
I licked my plate, asked for more than before
Nine fiends of my world then knocked at my door
A Luciferian’s prayer where the black light beams
(And no I did not forget to place an “r” in the word “fiends”…)
CC: What was your initial purpose for putting together this project? And as the group has grown into it’s current lineup, how has it changed over the years?
G: This story, too, has also been told a thousand times, so allow me to write a dumb poem about it:
I screamed to the sky, wanting a sound to exist
A sentimental sick joke of vinegar and piss
But dressed up in threads from underneath Daddy’s bed
We did our best to look good, though did our best half-dead
Some dropped like flies, disappeared in the night
Other’s almost died as I commandeered the right
Somehow now there’s nine, including me this time
As the trinity tripled, our ripples turned divine
G: Our songs are Motherfuckers for the orphans of the world, young and old.
CC: Who are your hero’s you tip your hat to on this musical journey? How do you think you compliment them through your musical stylings ?
G: I have no heroes, only those I have met then been immediately disappointed by. It is kinship, not worship, that empowers.
CC: I listened to “(There Is Nothing Worse In The World Than A) Crying Girl.” It reminds me of a girl in tears at a 50’s prom wearing a dress made of paper clown barf… how would you describe that one Gabe?
G: It’s my love song to futility. Sometimes you just can’t say sorry, or “stay strong” or “let’s have break-up sex.” Seeing a woman crumble is like watching a skyscraper being dynamited. Sometimes it is just your fate, your punishment, your only choice…to witness this and choke on the dust. A crying girl is just the great equalizer.
CC: What was the first song that nearly destroyed you?
G: “They Don’t Know” by Kirsty MacColl. I think even as a naive youngster it encapsulated my view of love and romance that I would keep with me into my adult years, which is this this possessed feeling of tunnelvision between you and another person, where you feel like the emotion is so strong between the two of you that there is no way in hell ANYONE could ever feel the same way about ANYONE ever before or after the two of you. So monumental, that you want to almost keep it hidden. The first time I heard it it was like a secret transmission made especially for me and I wanted to crawl inside it in fetal position for as long as I could, and I wondered what Kirsty was really like, since she was obviously serenading me.
CC: Is there anyone making music right now that you think you’ll have in your collection 10 years from now?
G: The Fresh And Onlys. I actually got confoundedly upset the first time I heard them, cause it was exactly what I wanted to hear and at the time I was pissed it wasn’t me, but immediately afterwards I was nothing but thankful. They reminded me what a great song is supposed to feel like with “Waterfall” – which is when the song actually supplements the sensation of being in love and feeling like something bad is about to happen – that very sentiment inspiring a line I used in “The Good Book”. I mean, that is love and that is rock and roll to me. The narcotic feeling in your stomach where you are so high that you are scared.
CC: Do you ever astral project when you perform live?
G: I must, because it’s rare that I actually remember what I was doing throughout a performance, and that’s completely independent of how much I have had to drink…though full disclosure: I do have an unfortunate tendency to blackout. It is a subject so close to me that I have already literally written a book on it called “The Intrusion.” It’s basically about the correlation between alcoholic blackouts and demon possession, which sounds like the hack product of someone with an overactive imagination, but besides my own first hand experience I have done extensive research and the hard evidence is silencing for most opposing views. The book is done, technically, but is still squirming under the knife by a Mr. Joseph Mattson, who’s own pen doubles as a machete. Pretty soon, American Apparel storefront display windows are going to be featuring dummys clad in full iron clad suits of armor – not to promote of kind of any ironic winter line, but as a specific practical warning of the kind of preparation we will all have to undergo to survive Joseph Mattson’s dismembering of mediocrity that our culture at large already seems to be falling victim to because of him. I thank the stars that he did our liner notes for “Four Future Standards” and that we are on his favorable side, though I will continue to warn the public…
CC: Do you have songs that you’ve written that have become your enemies?
G: Of course. Some people think I have written songs specifically about them and they’ve gotten upset. And all I can think is – None of these songs are written about a specific person, more like fragments of people like how people are presented to us when we dream, and if they were a specific person – you have no pulse of you are going to be upset for someone trying to immortalize you! Ok, yes some songs are about specific people but I never meant any harm, even in the most mean-spirited ones. It’s always out of deep, sometimes too deep of love, it’s just that sometimes my love is a fucking monster. Other times, I have no idea where a song will come from – some other source entirely not of my own thought process – and it is this alone that might scare me a little bit.
CC: What form does your,” Fuck This Shit” take?
G: Well, first I internalize it all! You can’t explode good and proper until you first push it into the deepest pressure cooker of your guts for as long as your quaking heart can take! This should be considered just a good, shrewd strategy and not “passive-aggressive.” Anyone who thinks of it as such has probably never made a real impact on someone. So yes, then there’s the explosion – and as a result, it’s their blood AND your blood all over the Sunday Times on your porch the next morning. Glorious. Thank you.