Ish­mael But­ler “I wait for a con­cept to rear its head”

at what point did you re­alise you were mak­ing two records? I got a friend in LA, who’s an en­gi­neer, mixer and pro­ducer, that I wanted to work with, so I started go­ing down to LA when­ever I wasn’t on tour, work­ing on the al­bum that be­came Quazarz Vs The Jeal­ous Ma­chines. So that al­bum was recorded over the course of seven months, and when it was fin­ished I got a re­lease date for it and ev­ery­thing was cool. But I was feel­ing re­ally good, like there were a lot more songs I wanted to do, so my other bro, who moved to LA, was com­ing back to Seat­tle for a 12-day stint. I thought we’d knock out three or four tracks, but it started go­ing swim­mingly – at the end of the 12 days, we had 11 songs com­pleted, mixed and ev­ery­thing.

where did the char­ac­ter of Quazarz come from? I al­ways like to have some con­text for the mu­sic, but I wait for a con­cept to rear its head from do­ing the mu­sic. That’s how it hap­pened with Quazarz – three-quar­ters of the way through, I started de­vel­op­ing that ve­hi­cle for the mu­sic and the art­work and the videos.

When I’m record­ing I don’t re­ally lis­ten to much other mu­sic, be­cause you record all your wak­ing hours, then you sleep or think about what you wanna do the next day – but I al­ways like Miles, Fly­ing Lo­tus and Thun­der­cat and all those cats.

what were you lis­ten­ing to for in­spi­ra­tion while you were mak­ing th­ese al­bums?

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