Under The Scope: Lubec

By: Bryce Woodcock

September 18, 2014

"I think our band was always focused on capturing that big grand feeling. If not from sound then through a melody. It’s all about capturing some sort of youthful excitement or rush."

There are a few things you need to know about the arcane, shoegaze-deconstructivist rockers Lubec.


By now I’m sure you’re all well aware of the shoegaze renaissance that our happy country has been experiencing for the past five years. Despite what some music snobs will tell you--things like, “There’s nothing new to expand on in the genre beyond the MBV “atmosphere”--I’m happy to report that even in today’s day of imitating imitators, there are still plenty of avenues for the genre to explore (and h8ers can suck it).

Giving truth to my bold statements above are local genre-breaching, boundary-spurning, bright-eyed, bushy-tailed, dreamy art-rockers Lubec. They combine the the layered texture of MBV, the erratic unpredictability of Swirlies, the philosophy of youth advocate/empowerment bands like Sonic Youth, with an irreverence to orthodox compositional guidelines. The result? A slice of non-clichéd (unlike this statement) sonic heaven.

But don’t take it from me--the guys are releasing their debut album The Thrall on September 21 at Mississippi Studios with Night Mechanic and Old Wave (formerly the Adam Brock 4), and they were nice enough to sit down with me (albeit lacking one member) and chat about it amongst other things.

The album, it would seem, is a culmination of creative influences and concepts. Playing an unmistakable role in the band’s sound is the early ‘90s shoegaze scene. “That was always the most meaningful scene to me growing up,” guitarist/lyricist Eddie Charlton says. However, immediately after the comparison is drawn, the band seems to resist full-fledged classification under the oppressive genre label: “I feel like we battle a little bit with that genre term just because I feel like shoegaze, that whole idea of a genre is pretty specific. But I feel like even within that genre there’s a lot of range on what things can be.” From what I gather, Lubec has seen far too many good bands pigeonholed by the increasingly dogmatic, comprehensive term “shoegaze.” They prefer to use it as a term “that can be applied to a lot of different songwriting”; a term that shouldn’t be instantly defining the moment traces of it are perceivable. Listening to their music unfettered from this lofty notion of “shoegaze” allows for a multitude of different impressions it can have.

This open-endedness that Lubec preaches certainly remains consistent with the philosophy behind their music...and life. The band is comprised of a bunch of post-Beat Portland everymans who are “kind of young” and just want to make music that corresponds with the uncertainty of the future and the creativity that is born from impulsiveness. “I think our band was always focused on capturing that big grand feeling,” Eddie tells me. “It’s all about capturing some sort of youthful excitement or rush.” “You don’t know what’s on your horizon or what your future’s going to look like,” drummer Matt Dressen adds, “but you make big bold choices and roll with it.”

To exemplify this notion, take a song off their album like “Almost Vince.” Throughout the song you can feel the polarity between vibrant energy and subdued apprehension. The instruments and patterns drive the song forward with bold tenacity as the lyrics touch on subjects such as house parties, tire slashing, and fist fights. But at the same time the vocal delivery seems uncertain and the chords themselves are open, dissonant, and unpredictable.

To evoke this feeling, the band employs interweaving layers of instruments that playfully take turns interacting with each other. Eddie comments, “You could pick out 5 seconds of any song and each person is playing a really unique part, but it works all together. I feel like we found that really interesting middle ground, not just in sound but in straight up math.”

Let’s test Eddie’s claim on the song “Graffiti / Ulysses.” For the sake of illustrating exactly what he’s talking about, let’s generously extract for examination a selection from the minute and a half musical interlude. One guitar strums steadily, providing a two-chord platform for the second guitar to dance on, while the piano and drums interweave in a syncopated rhythm that add emphasis to interesting beats in the progression. No one instrument is responsible for the progression’s “melody,” but rather all of them are equal contributors to a larger more elaborate soundscape.

The album itself stands as a monument representative of not only those compositional and evocative elements that inform the band’s sound, but also the ideological tenets that the band holds dear. A “no regrets”/“yolo” type principle seems apt to describe Lubec’s feelings on life and music. Not turning into a sad old man filled with regret is paramount. Eddie says, “We all got to this point by realizing how we had to do this no matter what happened.” He later adds cheekily, “We can be pretty heavy and broody about indie rock, but it means a lot to us.” It’s clear that the dudes in Lubec think a lot about music, but there is definitely some weight to what they say. Stare the uncertainty of the future in the face and let your interests and passions lend it form… Make and do things that you’re proud of while it’s still feasible; windows are closing just as fast as they’re opening... 99% of life is lived in pursuit of your goals and dreams; why not find some intrinsic fulfillment in the journey toward them?

Okay, enough expounding platitudes from my embellished interpretation of the doctrines of Lubec. Dig into the interview and find some on your own here. And for the love of dog, check out their new album, it’ll knock your socks off.


The Interview

Deli: Why don’t we first go around starting from my left, introduce yourselves, say your name what instrument you play, and your favorite sport.

Matt: My name’s Matt, I play the drums and my favorite sport is basketball.

Eddie: My name’s Eddie, I play guitar and sing and my favorite sport is probably soccer but I never played it I always played baseball.

Deli: Well what is it about soccer then…?

E: I like that you can play soccer anywhere and I think I could be better at it than baseball…

Caroline: It’s the most popular global sport.

E: It’s also the most popular global sport.

Deli: (conformist.)

C: He’s an international man of mystery

E: I should have said curling, I think my favorite sport is curling. I’m gonna stick with that one.

C: I’m Caroline I play piano, which also sort of functions as a bass for us and I sing a little bit as well. My favorite sport to play is kickball, but my favorite sport to watch is luging cause it’s fuckin intense.

E: Good answer.

D: How’d you guys all circle up, how’d you meet?

E: A little over 3 years ago Caroline and I moved out here, I knew her from Virginia, which is where we grew up--she grew up in Maryland, but we went to school in Virginia

C: We met in college.

E: Met there and had been playing music a little bit and there had been a version of the band that had existed there for a while, but ultimately I had decided that I wanted to move to Portland because I wanted to be in a city that appreciated its music scene more. Richmond was really awesome, there  were a lot of really talented people there, but it was a city that just did not care about musicians at all. Made you feel kinda bad for being one, so I just decided that there has to be a better place than this. So Caroline and I decided to move here

C: And I just wanted to get away from the East Coast.

E: And after trying out other people, we eventually came into contact with Matt and that was when the band really came together and we started working on new material and stuff. and our other member who isn’t here is Nick; he also plays guitar. So he was the final component to come into it.

D: So Matt was telling me earlier he came to Portland for similar reasons, is there a reason you picked Portland in specific out of all the other cool cities out there with good music scenes?

E: Yeah, I think a large part of it revolves around Caroline who always felt an attraction to Portland for whatever reason.

C: Well for a few specific reasons. From what I gathered, this scene is nice because it’s not huge but it’s extremely active and extremely diverse at least compared to where we come from where the scenes are really delineated. It’s sort of true here too, but a lot less so I think. The genres are very separate whereas here I think there’s a lot more crossover. There are a lot of people who play in a bunch of bands who are part of more of a community where you move here, you start a band, and then the people you’re in a band with have side projects and you hop on their studio album. It’s really just collaborative and a really welcoming environment for a lot of styles of music. Even just the attitude of the city. I just love that there’s just a lot less pressure to succeed conventionally by a certain age, which I think is where we’re coming from being from the D.C. area which is really kind of intense in that way. I was just really attracted to a city where you can keep doing music until you’re however old and no one cares, it’s just part of the lifestyle.

D: How long have you guy been here on the scene?

E: We’ve lived here for over 3 years and I think we’ve been playing pretty nonstop for the last 2. A lot of our friends in bands and bands we’re really close with, all of that’s kind of come out of the past 2 years of pretty intense effort.

C: And Matt’s been here for longer than that though.

D: (To Matt) Have you played with any other bands here?

M: Yeah, I moved out here I think 7 years ago. I was in a hardcore band called Hawks Nest and a garagey band called Bahn Mi. And a band called Vices too that was kind of Riot Grrrl but wanted to find a band that was really gonna align with what I wanted to do after being in a few bands out here and being really active. We just gelled really well and been kickin out the jams ever since.

C: Also the personalities are big. Anyone in a band knows that you gotta click on both levels, musically and personally.

E: We’ve also all lived in the same house together for over a year. Everybody in the band. And we also practice and play there. And I feel like that, in a way we probably can’t even appreciate, kind of comes out a little I think.

D: Can you describe that dynamic at all? What’s it like being all together in a creative space?

E: It’s pretty cool cause we’re all so busy with other things too that we don’t really ever feel like we’re stuck on top of one another.

C: And when we do get a chance to play music it’s like a haven.

E: We chose our house solely for how we could play music in it. That was our biggest criterion. We had been doing what a lot of bands in Portland have to do, which is rent a practice space. But you gotta drive there all the time and we were just sick of it. And it’s just nice to be able to walk down a flight of stairs and it’s just practice time, you’re there.

C: And just the fact that we also do a lot of chillin and hangin and smoking cigarettes on the back porch and watching shitty VHS B-movies... I think it effects how you interact and make music together. It’s great. Our house is also sweet.

D: Yeah just the fact that you’re allowed to play loud music in it is a selling point.

M: Our landlords used to live next door to us we would always try to apologize and they thought we were crazy for apologizing cause they said their kids loved it. If I were in elementary school and the neighbors were in this band and your mom tells you to go to bed at 8 and shit but you can still go up there and listen to that band that’s playing next door.

D: So before we get into the music, what’s your name about? What’s the significance.

E: It’s named after the easternmost town in the United States, and that was, totally randomly I don’t even remember whose idea it was, but it was the final destination of a road trip I went on with my best friends in high school. So we went all the way up the east coast and back, obviously went through NYC and all that and it was really formative cause I was like 18 and it was our first week away from home. It was in honor of that spirit of youthful adventurousness.

C: And like not having a plan and just kinda driving to a town, turning around and coming back.

E: Yeah, and knowing it’ll work out.

C: It’s about the journey, not the destination.

All: (OoooOOooo)

C: Also Stephen King lived out there, I just think that’s cool cause it’s super creepy.

E: It’s also a super creepy town, it’s like something out of Twin Peaks but on the east coast. Super gray, super fogged over, and there’s just a single lighthouse that you can walk up which is what we did. It was really trippy.

D: So your guys’ sound... obviously we’re hearing a lot of early 90s shoegaze influence in there. Can you talk a little about what artists and scenes you guys have been listening to a lot?

E: That was always the most meaningful scene to me growing up. It’s funny, I feel like we battle a little bit with that genre term just cause I feel like shoegaze, that whole idea of a genre is pretty specific. But I feel like even within that genre there’s a lot of range on what things can be.

C: It’s kind of a sound that can be applied to a lot of different songwriting.

E: There are a lot of things can be really slow and synthetic that are associated with that genre and then there’s other bands who took that sound and fused it with basement shows and the punk scenes that were going on. There’s a specific group of bands from that scene that I was super inspired by that were more along those lines. They had a little more of a homegrown feeling, particularly Swirlies and Lilys, and they’re both early 90s D.C. area bands that I fell in love with. What I love about Swirlies is that they took the dreaminess from MBV… What I like about these bands is that if they’re going for a sort of disorientation, I feel like a lot of shoegaze bands are about just letting go and being listless and floaty. And I feel like that’s less what we’re interested in with the sound, it’s more taken offguard and loose and unsure or anxious. I like when that genre of music can make people feel that way.

M: I think we all echo similar sentiments on that, I think we’re all into a pretty wide variety of music in general, but as far as making Lubec work I think our influences derive pretty hard from that area. Like we’re really into Sonic Youth. You brought up Pavement earlier those are bands that are important to me. Actually, I grew up in the 90s so it’s never not on the back of our minds.

C: I think Sonic Youth was very eye-opening for me at a certain age cause I grew up with a more Classical background and then discovered bands like SY who had sort of an art school approach but whose goal was to break that mould and get weird with it using that knowledge. Coming from a Classical background you have to push yourself to step outside the box from what’s comfortable in regard to songwriting and chord progressions.

M: That and NWA.

E: Yeah and really the only other thing is NWA. That’s it.

C: Yeah, all of us are pretty big hip-hop fans too, so we come from a lot of different approaches.

D: Does that influence you indirectly?

C: Oh, we like to jam on that on the side!

E: Yeah we’re also trying to cover hip-hop songs on the side that’s a real thing.

D: Side project or Lubec?

C: Sort of a one-night-only thing.

M: Yeah, that’s been fun. But all that stuff sort of creeps into the music whether you’re conscious of it or not. It just helps define your style. You can always be versatile in your approach, but the one thing we always try to do is go 100% and try to build those emotions like Eddie said, try to build that anxiety and tension. But all within a structure that’s listenable and emotive.

E: The last thing I would add is that we really grew up listening to bands like Broken Social Scene which really has a lot of multiple singers, an emphasis on the group rather than a single person in the band which was really attractive to me, and I think Matt too. And also I’m a huge geek for 60s harmony groups and just bands with multiple singers who make use of that. So we try to have a lot of vocal harmonies, which I think might become more apparent in the music we do in the future.

D: Are there any contemporary bands either in the Portland scene or just in general that you see yourself in the same tradition of?

E: Yeah, the two that I would name offhand are Eidolons, we’ve played with them a couple times. I think they’re all just sweethearts. Really for me it’s Eidolons and this band called Fine Pets who are probably more so our actual friends we just hang out with them a lot. Both of those bands were people we saw and felt--

C: Sort of at home with.

E: Yeah, and for whatever reason I feel like we’re really outside of a lot of scenes. So it’s nice to come across those bands.

C: And of course those two bands both sound pretty different but they have the common thread of having those pop structures, but unexpected chord changes and really thought out dissonance that creates a really interesting atmosphere.

D: Can you describe the aural vibe you’re trying to portray from your music?

M: We want people to immediately get into a fight when they hear us.

E: Thus the NWA influence.

M: I think we just want people to feel excited and kind of capture that same feeling when you’re kind of young and you don’t know what’s on your horizon or what your future’s gonna look like but you make big bold choices and roll with it. We want people to feel inspired cause we’re inspired when we’re playing this music. We come to shows and we play with everything we have and that’s a filter back into the audience. And I think people pick up on that and feel genuine and nothing’s done just for the sake of “this is a catchy hook” or “this should go here.” We want to make people think but also feel really good.

E: We want to come at it in a positive way, but we think a lot about songwriting and it’s probably pretty apparent. That’s our passion, it’s the composition and I think we just feel like we love these forms of music, whether it’s shoegaze or punk music or hip-hop or noise rock, we love all the music of youth culture but I feel there’s still a lot of places it could go. We aim to make music that’s catchy but also really unpredictable and if anything I hope that it can show that there’s still more places music can go compositionally. I think anybody who’s really into music realizes that there are bands out there who can just regurgitate the same structures or melodies, but it doesn’t have to be that way and it can still have the same function completely.

C: And the other side to that coin is that we do, I think, want it to be fun, and we want to play music that has catchy elements. Music that people will want to listen to that feels fun and positive. We do have a couple of slow songs, but I think for the most part they’re rockers, cause that’s what we love; just going full force basically as Matt said. And there’s a lot going on in our songs, but the goal really is as Eddie was indicating, be really about the full song and not just one element. So there are a lot of interweaving parts and times when the piano and drums will match up and then the drums will match up with the guitar and the two guitars will be interacting. So there’s a lot of layering but it’s all to create sort of an overreaching sound if that makes sense.

D: Let’s move on to the album that you guys are about to drop. Tell me what it’s all about.

C: We’re really happy about it, which is a really good feeling cause I think we’ve been part of recordings before where it’s not quite what you want it to be in the end, or it was good but the experience was iffy. I think we all just couldn’t be happier with how it came out.

E: We’re very proud of it.

C: Yeah, we’re really proud of the recordings themselves, which were done with Robert Comitz of Frog Pound Studios. He was the shit. He also books at The Know and does sound at a lot of places.

D: Is somebody releasing it too?

E: Yeah, it’s called Like Young Records and it’s based out of Indiana. They’re releasing it on cassette.

M: Syracuse, Indiana.

D: So it’s only being released on tape?

E: It’s only being released on tape right now, and digital download. Which we will have on hand for that show. And we also really like cassette culture and a lot of the cassette labels. CD’s dead man.

C: Plus digital is what people use for day to day listening, but it’s nice to have something tangible and a tape makes a lot of sense these days.

M: More of a long lasting piece of artwork that you can play for a long long time.

C: And it’s super affordable to produce. We’re in a band, we don’t have a lot of money obviously (*LAUHGS*) I mean pressing your own record is… Maybe one day. Not gonna bank on it.

M: Like Young Records is really awesome for supporting us in that realm and giving us an avenue to get it released out into the ether and a broader range of listeners. We would totally love to press a record at some point. We made The Thrall with the point that it would be made on vinyl, but right now we’re just playing our options really.

E: Yeah, I think it’ll be on that medium at some point some day.

D: Do you have previous releases that are on different formats?

E: Yeah, we have a vinyl record that we press ourselves. It’s a compilation of earlier recordings.

C: Less of a full, cohesive thing which The Thrall definitely was but…

E: I would consider The Thrall to be our debut album, and this other thing is a collection of singles or something from before the album. But we pressed it on vinyl and I would never do that again on my own. I wanted it to exist so badly that I’m glad that it exists, but I don’t know how bands do it. It’s too much of a sunk cost. If you’re not in a band that knows you’re gonna sell them all right away. Like a lot of things, we’re all coming at it from previous experiences and learning lessons from bands we’ve been in before. But this experience with recording with Robert in his house was probably one of the best parts of the album.

C: We just had a blast.

E:  It was like going on vacation. He is just such an inspiring individual. He works so well with us that I just can’t stop talking about how awesome of an experience it was.

C: Cause he really represents that DIY spirit that we love but he’s also very professional and knows his shit and has been in a lot of bands that we like and respect. So it was kind of a great happy medium because I think we’ve had experiences at more pro places that weren’t ultimately right and didn’t really understand the kind of sound we were going for. It ended up awesome.

D: In terms of the sound you got in The Thrall, how do your previous releases lead up to that? What’s changed, what are you guys going for that’s different?

E: I think previously it was more focused on noisiness, which I also love, but I think we retained a lot of that while also having it… I mean Caroline, Matt and Nick, the extent to which they brought together a whole sense of arrangement and Caroline’s Classical education in music--

C: Annoying attention to detail…

E: I think our band was always focused on capturing that big grand feeling. If not from sound then through a melody. It’s all about capturing some sort of youthful excitement or rush. Not being the most trained musician myself, I would normally do that through loud noise and distortion fuzz and thing. And once we really became a unit and were really communicating with one another--which I had never been in a band before where four people did that. The difference in this album is that it’s a lot more realized from just a compositional level. Everything really fits into place. You could pick out 5 seconds of any song and each person is playing a really unique part, but it works all together. I feel like we found that really interesting middle ground, not just in sound but in straight up math. Just the actual composition of the music. Which is really inspiring to me because I start to hear bands that I grew up listening to different. They were actually applying a lot of these elements. Like harmony.

C: And also the chemistry of it. If you really feel comfortable playing with someone… Like with Matt, I just have a super fun easy time unlike a lot of other drummers I’ve played with. Figuring out the vibe and matching up bass hits and things like that, when that’s easy, it’s a lot easier to expand and focus on the fun stuff like the dynamics and cool effects and how to structure the song.

E: I echo that completely that’s a really good point.

M: The Thrall kind of compares to Wilderness Days, which is that other release. It sounds like a legit collection of all four of us working on the same thing. Wilderness Days was probably more representative overall of Eddie’s songwriting. While that’s good and unique in its own moment of time, I think he’d second this too, how it’s changed and grown in a way he hasn’t expected is what makes the difference.

D: What’s the writing process for the songs like now? It sounds like Eddie used to do most of the composing. Now are you sort of working more as a band for this release?

E: Correct, it’s much more a product of all four of us working together. A lot of times I brought in the skeleton of the song, but sometimes the final product of the song would be completely different than what we started with. It was totally natural too, I guess that’s why it could happen cause it was really fluid.

M: We’re really mindful of things seeming forced. We were really proactive to avoid that situation if we felt that going on in a particular song or part. There’s no time  constraint that we were working against so it was just like “yeah let’s refigure it out” instead of trying to force it.

D: And in terms of lyrics, who does that?

E: I write the lyrics. Caroline has written some and I think moving forward that might be something we work on more together too.

D: And what are the songs about? Is there an overarching theme or anything that you can ascribe to the bulk of your work?

C: There definitely is a theme for this album.

E: Yeah it’s the idea of “The Thrall,” that being kind of the idea that you’re totally overwhelmed by the possibility of life. When you realize how many different ways things could turn out. When you figure out that life is just an incredible series of coincidences and chances. Like how I’ve met both of these people and you…

C: And going from youth to adulthood, that being kind of a representing factor where you stop making decisions arbitrarily and things culminate.

E: I tried to theme a lot of the lyrics in the album with that general concept, which is what I wanted it to do. And the final song on the album is just straight up about it completely.

C: It’s called “The Thrall.”

All: Lol.

E: But then ultimately I’m also inspired by mundane things or things that I can tie into that but may be inspired by separately. Like one of our songs is just about hating to get up in the morning and being tired and… are you losing a part of your personality by having to get up early.

C: Spoiler alert: Eddie is not a morning person.

All: Lel

E: Another one is about my first college roommate who was a total bro and a moment when I realized that hanging out with him was making me become like him. And like the worst behaviors of a fraternity and that kind of shit. I just try to pull those fragments that I’ve dwelled upon in my life in the last 5 years and see how they tie together with that bigger theme. I was really happy with how that turned out too.

D: Let’s move on to your release show. Who you guys playing with, when is it, what’s going on?

M: September 21, Sunday at Mississippi Studios. It’s a free show presented by the Portland Mercury, their Ear Candy series.

C: Which is pretty ideal I think in this scenario we would just love as many people to come out as possible.

E: Yeah, we love free shows.

M: Yeah, we’re excited, we’ve wanted to play Mississippi for a long time.

D: So this’ll be your first time playing Mississippi?

M: Yeah, it’ll be a real treat for us for sure we always enjoy going there. But we’re playing there with a band called Night Mechanic--

C: And Adam Brock’s band, which is in the process of changing names.

M: Old Wave.

C: It will be henceforth called Old Wave.

D: What should we expect to see on the flier??

M: I think Old Wave, I made the flier so yes, Old Wave.

C: But their website still says Adam Brock 4 so--

M: Fuck that shit dude they’re Old Wave.

E: It’s on the flier man, it’s done.

M: Their website is a liar, man, the internet tells lies all the time.

All: (general nod of assent, nervous glances around to make sure the internet isn’t within earshot.)

M: Yeah it’s at 9 o clock, gonna be killer, all the bands are doing some release. Yeah we’re stoked about that. It’s cool to have some spotlight shown on the accomplishments of some local bands that’ve been working really hard on what they’re doing.

C: And Night Mechanic is awesome we actually have been wanting to play a show with them for a long time. And Adam Brock I’ve heard awesome things about I haven’t actually seen him play yet, but it’s gonna be a really great bill. We’re all super happy with how that worked out. Cause with release shows, we’ll take what we can get and it ended up being kinda perfect.

M: Yeah, we weren’t sure if we were even gonna do one or if it was gonna feel contrived or what, but then it actually turned out to be something really ideal. A good experience for us.

D: So you guys are pretty well established at this point, you have fans, you have a sweet record release lined up, is there any advice you would give to bands starting out on the scene to get to where you are?

M: Work hard, man. Don’t fuckin not work hard. Networking is part of it, but you gotta want it, you gotta put in the work and make sacrifices if it’s your priority. You really gotta dive in and that’s something that… We’ve gotten a little older and we’ve got to balance having a work life with your real life which is at home playing music and making art and all that stuff. You gotta find that balance but you gotta still go ham on making music if that’s what you wanna do. Just stay positive and open and respectful when you’re in band situations. Like Caroline mentioned earlier, when you’re in a band you gotta be better friends than bandmates. Anyone can play together if you allow that relationship to exist. My biggest thing is telling people to work hard because a lot of people see bands that get notoriety… There’s Portland bands that get nationally big and you’re like “I never ever heard of that fucking band” because they never played a show in town. And that’s such a dime-a-dozen that I hate to see young bands trying to emulate that and just expect stuff to happen without them putting their foot forward and trying.

C: Don’t get discouraged early cause the times that it happens overnight are slim to none and everyone plays bad shows.

E: We’ve played shows to 5 people or less.

C: Yeah, and it doesn’t matter, those 5 people--I mean obviously this is kind of an age-old adage--but if those 5 people are having a blast, that’s what matters.

M: You did your fuckin job.

C: Yeah, and you got a chance to practice in front of 5 people and get better at your set. We went on a little Bay Area touring and at the end of our tour I was like “Man we’re sounding real good, we just played 7 nights in a row”

E: Yeah we were on fire.

C: But it shows what happens when you really practice consistently, and not every one of those shows was great, but we had a blast cause that was the goal. And then I was gonna say, going out to shows…

M: Yeah, support the scene.

C: It’s less about networking and more about being supportive the way you want other people to be supportive of you. And staying inspired and seeing what’s going on in the scene. Like “Oh man I saw this band do some crazy shit with their guitar and I wanna try that” and just challenging yourself and making sure you know what’s going on around you. But it’s also fun to be part of something and see people you know at shows and be a part of that community. Any advice Eddie?

E: Yeah I just echo that--

M: Stay in school.

C: Don’t let your mom catch you smoking pot.

E: I feel like one thing that’s really carried our band especially earlier in the harder times has been just positivity and that goes with hard work and also support. But I feel like, we've been doing it for a few years now, but there’s no eureka moment when we finally feel like “Oh we've done it now,” you just have to really hope that those little moments build and build into something bigger. And I feel like my advice to a band would be, don’t wait for some really symbolic moment to tell you what you’re doing, you just have to be comfortable enough with maybe never knowing. You have to love it enough to keep going anyway.


E: At least for me a huge part of why I even wanna be in a band is what we realized when we were growing up like “I need to do this, or I will regret it for the rest of my life” and we’ve seen so many adults that were those kind of people. Like the classic mid-life crisis people that do what they think they’re supposed to do without doing what they actually want or feel like they need to do for themselves. We all got to this point by realizing how we had to do this no matter what happened. Going into it with that prepares you for whatever comes with being in a band. We can be pretty heavy and broody about indie rock, but it means a lot to us.

C: Stoked about a lot of cool stuff that’s happening in Portland right now. There’s a lot of people who are kind of discouraged about venues closing down and the city changing and it’s a bummer, but being from the East Coast and seeing this happen in other places, it’s kinda the way cities go. And the thing I wanna tell people who are bummed about it is we gotta keep it going in new ways. People have to make new venues and have house shows in different places and keep the spirit going. Cause that’s what happens in art scenes. And I for one am optimistic. But I am an optimistic person.

E: I am too, I’ve never been happier about the Portland scene than I am now.

M: All those people in line at Salt and Straw totally agree with you. Can we get their two cents?

C: “What do you guys think of the garage-psych scene in Portland right now? You guys wanna see Cumstain next weekend?”

(Short discussion on yuppies and gentrification takes place in no way relevant to music)

D: Well there you have it, from Lubec themselves.

All: {PEACE}

(High Fives ensue)

Words by Bryce Woodcock. Photo by Keli Pennington.