SCV Interview with Aaron Freeman of Mothers of Gut
Los Angeles based five-piece Mothers of Gut are preparing to release “Unking” this year; an EP vinyl release on Family Time Records. Slated to see release this coming April, we decided to contact leader of the group Aaron Freeman about his views on the album and other subjects surrounding his music. Thus, we gathered that Mothers of Gut is a couragousely peerless experimental and progressive rock group that exert passionately, a level of intensity and control rarely seen in their “genre.”
Lush vocals drenched in effects overaly on top of moutains of colors with no restraint from the vast array of pedals and personal touch each member adds. When seeing them live there is a form of dejection when their set ends; as their performances are a communion between listener and performer ultimately becoming a true give and take experience. See this group live and check out their records, you won’t be dissapointed. Below is the interview we conducted with leader of Mothers of Gut Aaron Freeman.
~ Erik Otis & Pouya G. Asadi
On your latest record, Unking you have presented a collection of new material with your group Mothers of Gut, were the sessions lengthy in takes and orchestrating specific attributes or was it a very free and more spontaneous path?
Sessions were definitely sporadic, since at the time of the record’s conception, I was still working with Norse Horse frontman- Ryan Beal- and Jesus Makes the Shotgun Sound’s drummer Adrian Laguna & bassist Sergio Camerena, and though we had a few of the songs somewhat conceptualized for our live performance, no solidity was made in even figuring out how to approach it. I was able to finish “Wizard Tree” and “There is a Great Sadness…” in my bedroom on 9th St. in Riverside, but the framework for the larger, expansive tracks needed more time to develop and mature. After politely parting ways with Ryan, Adrian and Sergio- due to time conflicts- I inducted Bill Davies, Kristina Collantes and Sean Pineda into the fold, and they helped lay down the rest of the songs. All four of us were juggling jobs with practice and recording, so it wasn’t easy to commit, but we managed. It also didn’t help that I was living in a house with four other people in the middle of the summer, but we pushed through, and recognition should be given to our contributing saxophonist and trumpeteer, Dylan Jennings and Thomas Miskell, who- on the hottest day of my goddamn life- covered head to toe in sweat- hammered out their parts without complaining once. I also had the opportunity to work with Tes Elation’s Isaac Takeuchi and Big Whup’s Morgan Gee on “Stalemate,” and the song would absolutely not be the same without their string contribution.
You have been making music for well over a decade now under different names along with guest appearances and hundreds of hours of rehearsals, jams, constructing and composing, etc, whats some of the most rewarding aspects in the process of all these pieces that collect your identity as a musician?
The rewards change as I get older I guess… At first I had a lot to say and express, but as time went on I felt less obliged to speak my mind or to emote, which leads me to the state I’m in now, jumping at any chance to do something worthwhile. I mean to say music is a drug, and in order for me to retain my sanity, I absolutely must be making it. Money, fame, success (all things I know nothing about), etc. are all secondary to the reward of creating something that helps me better understand myself and the world around me.
Unking has a really cinematic feel to me, do you feel like film is a big influence on your music and if so what films specifically?
There are definitely visual elements intended to accompany the record, but- matter of fact- no films. In fact, most of the inspiration came from a resurgence of interest in my old comic book collection, as well as the discovery of “Sci-Fi-O-Rama,” a fantastic blog that regularly features my favorite artists: Jean Giraud Moebius, Frank Frazetta (rip), Roger Dean, and Philippe Caza. Unking is visual, but in a different way. For instance, when I listen to it, I see a giant snake eating itself, so I suppose that kind of imagery helped propel the creative process more than any specific film.
Does Unking have a concept behind the album or are the songs independent of one another?
I started conceptualizing the material around the same time my dad was diagnosed with terminal mesothelioma in the Spring of 2009. In fact, I had borrowed a book by Ursula K. Le Guin called The Birthday of the World, and was reading it in the Los Angeles Kaiser hospital waiting room while my dad underwent an extensive, surgical removal of his right lung, and the words practically popped off the page. To paraphrase, “The Unking- who- after denouncing himself as ruler, sent his kingdom into a century of summer.” I couldn’t help but see the parallels, a man driven to the point of insanity, collapsing into himself… and so I began to think about what it would take for a king to say to himself “I should not be ruler. I should not say anything!” and I explored those themes until my dad passed away in May of 2010. I mean, the whole thing is really about what I thought he must’ve been feeling- like nobody understood his pain, no matter what he said, not a single fucking thing could get the point of his mortality across. In the end, how can you accurately depict yourself to others, especially when your time is running out? So, in a sense it’s about relinquishing all efforts, all hope, all things at the brink of singularity. It’s not that it’s dark, because emotions don’t do it justice. It’s a goddamn reality!
In the end, my dad never got to hear Unking, and that will probably haunt me for the rest of my life.
You recently took a trip to Hawaii, from a lot of stories about Jimi Hendrix and others in his time, they referred to it as the cosmic play box. Were you able to record music out there and would you say these types of experiences take shape in your music?
I was most appreciative to have the chance to visit Hawaii, and those who are reading this and have been there will understand when I say it’s absolute paradise; a place for healing… The locals we had the fortune of meeting were literally the most genuine, intimate people I’ve ever encountered. I met a man named Aaron, aged 75, who had been regularly running up and down the beach for something like thirty years, losing 300 pounds in the process, who knew everybody at the beach on a first name basis; perhaps the warmest greeting I’ve ever received in my life. We also hung out with a most reputable chap named Juni, who regaled us with stories of his life in the big city as a musician in the 70′s, who sang songs for us and listened as we shared our music with him. On top of that, listening to Antonio Carlos Jobim’s “Stone Flower,” while driving around the island can only be categorized as mythical, and actually looking at a volcano; Nothing comes close to that.
I did realize some things about myself though, that paradise is a time capsule. When there’s no painful catalyst there is no forward movement, so a lot of the people I met were kind of trapped in themselves from whenever they first arrived on the island. Lots of dudes playing Hendrix kind of stuff, wearing tie-dye, etc.
It felt good to come back to California, as fucked up as everything is here, we’re all advancing together. It’s where I belong.
When you create music, do you think with your effects, pedals and tones available through your band or do you independently create the pieces acoustically first hand?
I guess it depends on the day. Most of the melodies I come up with are premeditated, like when I’m riding my bike, grocery shopping, or doing the dishes.
Mothers of Gut has seen a few different lines up and now you have settled in with a friend of mine that goes back to a weird connection, David. I have always loved his ability to find very tasteful tones, whether it be a progressive heavy moment or something that needs the smallest touch. What has he brought to your music that you feel no other drummer has?
I hold Dave personally responsible for taking Mothers in a direction I never thought possible. His skill allows me to imagine more and more complex material as time goes on, and now we’ve reached a level of communication that allows us to push further and further into the unknown. Working with him actually makes me a better guitarist, mostly because I have to match his chops! Unking is a drop in the bucket compared to what’s next.
You are releasing Unking on vinyl through Family Time Records which I think is an incredible label, what does their label mean to you and how did the vinyl release come about?
Sam Woodson runs Family Time, and he’s a very close friend. Our bands have played countless shows together, and we worked together on Ryan Beal’s live manifestation of Norse Horse. When I think of the future of DIY music, I think of Sam. He has a great work ethic, really cares about the material he’s putting out, and he knows how to make others care, which can often be the hardest part about promotion. He puts out great artists who are young, driven and fucking brilliant if you ask me. I mean, Ouja is something like 18 yrs old? And it’s amazing! I don’t remember what I was doing when I was 18, but it certainly wasn’t anything cool.
You have added a fifth member to your band, Ryan Bergmann to add additional bass, how has this added or changed the sound of Mothers of Gut?
Actually, we rotated Kristina to “Sampler/Effects Engineer,” and Ryan has taken over bass.
We’ve practiced a few times, and in those brief moments, we’ve achieved a level of intensity few can brag about.
I’ve never felt this optimistic before about where the band is headed.
Mothers of Gut is scheduled to play the illustrious SXSW Festival in March, what type of touring schedule do you guys have planned for the rest of the year?
When we get back, we have a few shows scheduled, but we’re always willing to play more.
A release show is imminent, possibly in April.
“There is a Great Sadness To Your Wisdom” is one of my favorite pieces on Unking with the bird samples and the low murky synthesizer parts under it all, where as the piece right after “Smoke The Master” has a soaring saxophone section and is very full in sound. The album has a very consistent balance of high and subdued energy levels, was this a conscious decision or did that never cross your mind?
“There is a Great Sadness…” was a sketch I’d written to reconcile a memory I had of attending my great grandfather’s funeral when I was super young. All I remember was a giant church organ playing something very pretty, and huge glass walls surrounding the chapel, opening into a large open meadow. It’s one of my oldest memories, and I wanted to invoke a sense of returning to it. The organ is supposed to sound like it’s coming from a distance, and the protagonist- or the listener- feels obliged to lean in closer to hear the melody.
As the story goes in my head, the Unking, after having fled his kingdom, goes into the forest and hears a sepulchral organ playing his death tune. Trying to follow the sound, his journey leads into “Smoke the Master,” wherein he realizes he is alone and ready to die. The sonic tension perhaps serves as a metaphor for the inner battles he has to face, but it’s obviously not that black and white. The sax part was totally improvised.
“There is a Great Sadness To Your Wisdom” by Mothers of Gut
On the tracks with vocals there is a high degree of effects being processed over your vocal track that creates a very liquid wavering feeling, what kind of effects do you use for your vocals?
I use a Small Stone Nano Phase Shifter. I first heard the effect used on Sabbath’s “Planet Caravan” and I’ve been hooked on it ever since, though it’s kind of run its course with the newer material.
There is a large spectrum of music we have shared with each other over the years, do you feel the Internet is changing the way this generation will raise our youth or do you still feel the mainstream standards of the last 30 years will always take hold?
It’s hard to predict the future, but I can tell you change has already happened.
We’re able to share our ideas more fluidly and more efficiently than ever before in human history.
For less than two thousand dollars, you can purchase an Apple computer equipped with Logic Pro, and with a decent interface and nice gear, you can record something as good if not better than what you hear on the radio. The creative class is arming itself with amazing technologies and innovations! The mainstream is already a part of the past, and what we’re experiencing now is a more compartmentalized structure, driven from the ground up by the source of the spring. I feel fortunate to be able to participate in such a remarkably novel period of creativity.
What type of releases does your group Mothers of Gut have planned for the future?
Recording is already underway for our next album, and it’s not going to sound anything like Unking.
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Mothers of Gut
Unking
Family Time Records
Tracklist:
Side A:
1. Unking (9:48)
2. Stalemate (5:28)
3. There is a Great Sadness to Your Wisdom (4:55)
Side B:
4. Smoke the Master (11:21)
5. The Summer Century (7:10)
6. Wizard Tree (4:29)
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Recording a Day with Aaron Freeman
Don’t miss out on the recording a day series Aaron Freeman completed this year, “Mothers’ frontman, Aaron Freeman took on a “Song a Day” from January 10th- February 9th 2011, resulting in the production of thirty songs with nineteen different musicians from the Los Angeles and Inland Empire area, including Omar Jamal (Brother Mitya), Lou Anda (Voice on Tape), Morgan Gee (Big Whup!), Travis Farwell (Slumberbeast), Kristina
Collantes (Lwords with Swords), The Summer Twins, Ryan Beal (Norse Horse), Ramiro Zapata and Sergio Camerena (Jesus Makes the Shotgun Sound), Kyle Souza (Narwhal Party/Stab City), Dustin Krapes (Halloween Swim Team), Adam Elabd (Yassin), and Jon Harvey.”
All 30 days are avaliable for download HERE
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Live Scheduling
Catch Mothers of Gut live March 19th at Velveeta Room (521 E 6th St.) for SXSW and the following dates:
April 9th @ Silver Factory in Los Angeles, Ca (Optical Illusions)
w/ Bastidas // Batwings Catwings // TheRapist
May 28th @ Back to the Grind in Riverside, Ca (Saturation Fest)
w/ Narwhal Party // Summer Twins // Halloween Swim Team // more tba
June 11h @ PB & J Gallery in Pomona, Ca (DT Artwalk)
w/ more tba
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Below is streaming audio of the first full length from Mothers of Gut, “The Inanimate Sermon“.
Written and recorded by Mothers of Gut in 2009.
creditsreleased 01 April 2010
Aaron Freeman- Vocals, guitars, synthesizers, basses, etc.
Adrian J. Laguna- Drums
Sergio Camarena- Bass
Ryan Beal- Guitar
Ramiro Zapata- Cello on “The Beach Blanket”
