Panels & Playlists: Paul Gori

Thanks for the opportunity to share the music I enjoy listening to while I do art. Whether I’m working on comic pages or a personal project, music always plays an important role in my creativity. I’m currently working on the following comic book series: OathBound (Loophole Comics) with writer & co-creator Kevin Cuffe, PsychoPath (ScapeGoat Press Inc.) written By Stefani Manard, and ASTROPUNK (Think Alike Productions) which is created and written by Kenneth Centers and Rob Farinholt. 

To be honest, I have always felt music and art go hand and hand. It’s amazing how well they can complement each other, like a perfectly synchronized dance. When I was young, I’d read my comics while listening to The Doors, Whitesnake, and Van Halen. This soon evolved into anything composed by John Williams, Danny Elfman, Jerry Goldsmith, and James Horner. Nowadays it’s Miles Davis, Seatbelts, Portishead, Beastie Boys, and Hans Zimmer, just to name a few.

It wasn’t until recently that I found out, after talking with others artists I’ve met recently, that they do the same!  It was nice to realize I’m not the only one. I mean…who doesn’t like music, right? Anyways, moving on. People may be expecting a lot of Spaghetti Western references, but I enjoy a rather broad range of music. So, let’s get to it!


#1: "Black Milk" by Massive Attack

I seriously love this jam; it’s smooth and really helps me relax when I’m tense. I get that way when I over think panels or I’m inking pages. (Which, to this day, is still intimidating to me.) It’s a beautiful track and I have to thank Kristina, my wife, for turning me on to this band!!

 

#2: "Bloody Christmas" from the L.A Confidential Original Motion Picture Score by the late Jerry Goldsmith.

To be honest I have this thing for Goldsmith. His work is so tight! His score for The 13th Warrior is INSANE!!! If you don’t believe me, just listen to the track titled “The Horns of Hell” then come at me! [Laughs] Anyways that particular song captures the energy of a good action scene and was my go to when I was drawing Astropunk issue #1.  It grabs you and shakes you up, but then brings you softly back down with that Noir feel?  It is an intense opening track, especially if you are drawing a Sci-Fi Noir!

 

#3: "The Mexican" by Babe Ruth

This is one dope song! Makes sense why tons of hip-hop artists sample this track. I love listening to this song not only while drawing OathBound , but I have this song on my playlist for driving around town too.  It’s just a damn fun song. I love Janita Haan’s voice. It’s so gritty, and yet, seductive at the same time. I was surprised this song was featured on the Netflix show The Get Down I mean, it makes sense, but still. I love this album for many reasons, but the “For A Few Dollars More” cover at the end just takes the cake!

 

#4 "Main titles from the Blade Runner Original Motion Picture Score" by Vangelis

The first track just immediately throws you right into this dark, crazy future! It’s a beautiful score and it makes me want to draw crazy landscapes of futuristic buildings with ships flying all around. This album was a mainstay for me while working on Astropunk issue #1. I think it’s also why I wanted to do an homage (promotional poster) based on the famous Blade Runner movie poster (which we did).

 

#5: "Bane Action 103 BPM Mezzo Suite from the Dark Knight Rises (Ultimate Complete Score)" by Hans Zimmer

Ok, so I’m a huge Chris Nolan fan and I love what Zimmer did with the scores for his films. But, out of all of them, the Batman scores are my favorite…all day, every day!!! I mean, I love them with a passion!  I have every edition (special or otherwise) of this movie series.  I love drawing to these scores because the feelings I get are so complex that it makes me want to draw anything and everything I possibly can. I can’t even begin to tell you which song is my favorite because it’s all of them. But this is one of my top five… so, it’s my #5.


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Adrian King

Hey, folks! My name is Adrian King, formerly the co-host of the geek-related comedy podcast Adrian & Atlas Have Issues. I've given my show a "gritty reboot" of sorts, but I'm still dedicated to bringing you engaging and often hilarious podcasting goodness. Being a geek isn't just about comic books: it's about loving whatever it is you're into. Comedy, films, music...I'll cover it all! So sit back and enjoy a brand-new podcast with even more "Issues" than ever before!

Panels & Playlists: Andi Ewington

Panels & Playlists is a feature in which the world of comic books and music collide! I have a brief chat with comic creators, who in turn share what music is on their playlists and give a little insight into their favorite songs.
Andi Ewington is a British comic book writer known for the critically-acclaimed OGN entitled "Forty-Five" and its follow-up "BlueSpear." Recently, Andi released the creator-owned miniseries "Overrun" and has worked on several titles for 451 Media such as "Six," "Sunflower," and "Exmortis."

Andi Ewington: I don’t really have any witty anecdotes, as such, about my choice of music. When I write, I choose tracks that are evocative of the scene I’m trying to craft. I have an unerring ability to keep the same song on repeat for hours on end. This repetitive nature creates a backdrop that allows me to dip in and out of a song, drawing from it when I need to, or tuning out when it all becomes too much. I used to find lyrics distracting and would choose only ambient or instrumental music, but over time, I’ve found that I’ve become more adapt at keeping these intrusive sentences away from my train of thought. 

 

1. Sunshine Soundtrack - "Kanada’s Death, Pt. 2 (Adagio in D Minor)/Capa Meets the Sun (to Heal)"

Andi: I love Danny Boyle’s, Sunshine, I think it’s a hugely underrated film. The music score has some great moments, including ‘Capa Meets the Sun (to Heal)’ which would probably be up there as a great funeral dirge. It's both uplifting and sad at the same time, and encapsulates the ending of the film perfectly. If I want a reflective piece of music to capture a similar comic scene, I’d certainly be picking that as my standout track. "Kanada’s Death" foils a great moment in the film, it builds slowly around a selfless act that grows into this epic roar, it never fails to inspire.


2. Jamin Winans - "The City Surf"

Andi: Keeping things mellow, "The City Surf" is the main haunting track synonymous with the ending of The Grey. A fantastic film that’s up there in my top five films of all time. Piano heavy with a simple riff, combined with the gradual layering of orchestral instruments. If I want a piece that sees the antagonist faced with impossible odds, with a live or die moment, then this is the track that I’m going to be channeling.


3. James Yorkstron - "Woozy With Cider (Jon Hopkins Remix)"

Andi: I love ‘Woozy with Cider’, it has some great lyrics that flow through it as we’re taken on a journey of a struggling musician as he reflects on how hard the music business is, and how much alcohol he drank at a wedding the night before. It’s a enormously visual song that feels like it’s breaking the fourth wall as the artist commentates on his life for our benefit.

I love the reflective nature of this song, it has a humbling depth that makes me smile inwardly, leaving me with a feeling that everything is going to be alright, regardless of the circumstances. On a side note, I had the pleasure of meeting James Yorkston after watching one of his gigs, the guy is a phenomenal musician and a top guy to boot!


4. The Prodigy - "The Day Is My Enemy/Rok-Weiler/Beyond the Deathray"

Andi: Sometimes I need a burst of energy from a song to drive me through some action-packed scenes. Frantic is key, and there are few acts that have the intensity of The Prodigy. Tracks like ‘The Day is My Enemy’, ‘Rok-Weiler’ and ‘Beyond the Deathray’ are a must if I want a my scenes to accelerate towards an explosive and climatic crescendo.


Panels & Playlists: Ben Cohen

Panels & Playlists is a feature in which the world of comic books and music collide! I have a brief chat with comic creators, who in turn share what music is on their playlists and give a little insight into their favorite songs.
Ben Cohen is a Vermont-based cartoonist with a BFA/MFA in Sequential Art. He is the creator of such works as BULLY and the four-issue limited series solo anthology entitled BENMANSHIP.

Ben Cohen: I had included a Neil Young song, From Hank to Hendrix, to include my roots. I still listen to my fathers music. However, this is not about my father's Artistic path, just as it's not the music of my childhood neighborhood. So, even though I've listen to Gil Scott-Heron throughout my life, that's someone else seeding my music tree.

I don't know what Adrian's intentions are here, but I took it in a direction of identifying self discovery of music and how it influences my voice as an individual Cartoonist. The same truth that forms Arts innovative intentions follow self discovery. Despite our best efforts to be unique, external guidance happens. Truth is we pick up what suits our needs at the time and put it all together into the life. This has been my artistic process.

 

1. Wall of Voodoo - "Back In Flesh"

Ben: So, putting on shuffle the era my musical tree grew it's own branch of my own making, Wall of Voodoo's "Back In Flesh" will represent. I took control of the radio dial in my room at age 7 and I settled on Live 105, the Bay Area's "Modern Rock" radio station in '82. I didn't hear the term "Alternative" until Nirvana broke, but essentially "Modern Rock" was an eclectic cultural scene guided by the Punk Aesthetic.

Living in my neighborhood, with my parents at the time, it was something perceived naively as only to my liking. That outsider impulse has stayed with me. I don't seek popular aesthetics for the simple reason of fitting in. Admittedly, this tendency has been coded as judgmental to those reasonably enjoying popular impulses. I regret at times it was true, but with age a truer self has set in. It's more an natural independence of thought in harmony with others thinking...and sure, when an impasse happens, I am struck by the disconnect in taste, but it easily becomes respectful differences.

Wall of Voodoo was an early favorite. It was surreal hearing "Mexican Radio" blast out of a Discoteca in Mexico, c. 1987. In '94, I was introduced to my favorite of their songs, "Back In Flesh," through the best mix tape I have ever heard, by a friend with an equally strict code of conduct and aesthetic. We matched like a closely linked Venn diagram.

Wall of Voodoo was considered "Art" Rock and it certainly played it loose with it's lackadaisical smart ass talking vocals, eighties synth and 60's surf guitar. Structurally, the songs rest on the strength of happy accidents. The happy accident has been essential to my creativity since Ms. Ottis' Tam High Drawing & Painting Art class. It's where the driven Artist can find their Artistic Voice.

With, "The corporation's boiling over.." Back in Flesh signals the tireless tradition of calling out the Oligarchy...

"You better sign your time card now/They don't care about you anyhow"

...it's said with a young White Male LA privilege...perhaps self aware. So, unlike the also privileged vocals of Camper Van Beethoven's "Club Med Sucks," this voice lists off stereotyped activities of middle aged white guys. So the counter voice of negatory could be taken different ways. For today, setting up the ending to be a wining of a Trump supporter or if covered by someone else, it has the potential to fit right with support of the exasperated voice of BLM activism.

I'm left with the impression this:

"Well, you can't tell me what to do!/Well, you can't tell me what to do! (Hey, fuck you!)"

...somehow helps the ink flow my way.


2. Living Colour - "Memories Can't Wait"

Ben: Leaving my East Bay immersion in cultural diversity, new to Marin, 12 years old, at a friends who actually had cable, MTV introduced me to Faith No More and Living Colour on the same day. Since that day, when music comes up I spend most of my time talking about FNM's lead singer Mike Patton. Adrian has an entire podcast of me carrying on. Patton's musical acts were part of a scene I have been immersed in since. However, from that scene only Living Colour & Fishbone closely represent a bridge between neighborhoods I grew up in culturally.

Bridging a variety of musical influences IS MY JAM, but it's more then that. Vernon Reid paints a song with his otherworldly guitar riffs in a way, that again, defines music on it's own terms. The Cartoonist that influences me, the music that influences me most, takes from all over, but finds it's own way, by accident, nature or stubbornness. Reid's playing broke what had been rattled by bands like Wall of Voodoo, making easy my apatite for Patton's path to John Zorn, which rough me back to the roots of jazz in my old neighborhood. If it was not for Reid, I doubt Miles Davis would be played often in my house.

"Memories Can't Wait" jumps in with Reid dragging you, kicking and screaming till you are stuck in the groove, just like Cory Glover is telling you. Others have freedom...but you, you "can't ever stop," "can't ever quit."

"...wide awake/But these memories/These memories can't wait..."

Nostalgia born witness to oppression drives this Cartoonist.


3. Combustible Edison - "Theme From 'The Tiki Wonder Hour'"

Ben: Sure, I loved Nirvana, Soundgarden..that's my High School days...but by favorite Sub Pop band is Combustible Edison. They forged an appetite for everything from Les Baxter to Stereolab. It all happened with a Tarantino contributed film (of course), Four Rooms and Ted the Bellhop (who I understood too well at the time).

I have slowly worked to remove writing from my comics and it's process. This is in part driven my two truths, lyrics are not terribly important to me and I am dyslexic. So when I am making Comics these days, I work to make them silent. This is why my 2nd comic was called "Still No Sound" (after FNM song lyrics), current project is called "Interrobang" (!?!) Truth is these visual stories are instrumentals. Thus the next work will be titled, "Villainous Soliloquy (An Instrumental)"

Simply put, Theme from "The Tiki Wonder Hour" is an instrumental which places me in a place of aesthetic presence. If I can remain there, I can create without impediment.


4. Baroness - "March To The Sea"

Ben: It was instantaneous, setting foot in Savannah, even before studying comics there, a thick syrup of hardened struggles, an intense erotic wave flows over me. Working in the bowels of a kitchen, my already well informed East Bay Hardcore and Thrash background was confronted with Kyuss, the Western Desert band, channeling early Sabbath. Josh Homme has since joined Patton and Reid in an self appointed elite group. However, the band that truly captured my Savannah feelings were not fellow Western's. Unfortunately, they formed a band days before I left town for Vermont. By accident practically, Baroness arrived on my radar and have filled my need to feel that Savannah feeling since.

When we "March to the Sea," it's not the Pacific that's on my mind. I am on Tybee. With that comes a price. There are dark sides to comics work, to Savannah, to our lives on both coast and through it's middle. The Seas are no escape neither:

"Heroin, where did you take my friend?
Tell me why, those ropes are hanging high?
You left me alone."


5. Kendrick Lamar - "untitled 02 | 06.23.2014"

Ben: Afrika Bambaataa, Grandmaster Flash, Eric B & Rakim, who could say was their first. All I know is this music has been there most of my days and when it's worked for me and reflected the community I came from (who they were speaking to, not knowing I was there), it has played it's part. It is almost always so present. Kendrick Lamar, brings me home at a time, I feel intense desire to be there, but I am not...I am in a small white bread town.

As I formed my particular code, it became difficult for any musician to gain influence on me. However, The Bestie Boys, Tribe Called Quest, Jill Scott, Blackalicious, Dead Prez, De La Soul, Hieroglyphics have all had full access. Once I heard Kendrick Lamar for the first time, all the sudden we were talking Skip James, Björk, Vernon Reid, Josh Homme, Mike Patton, codes. This may mean nothing to you, but this means everything to me. This is how my Comics get made, the intangible aesthetics in my ears.

I love the bass of this song, the raspy blues vocals, the deliberate beat (I play the kit to release). But it's the sounds, the lyrics that fit together in a way that reflects, film, tv, comics I love most. It's not about me. It's my representation. I maybe familiar, but I don't have to be. What's important is the Art tells a story that integrates a production top to bottom an aesthetic that represents the artist's perspective a world. Kendrick Lamar is one of few Artist in any medium who accomplishes this virtually every time. He always is present.

If I can leave myself on the page just once, as he does in my ear every time, I will die thinking, I have done my job here. I was present, I represented.


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Panels & Playlists: Garbage Talk With Ashley Burgy

Panels & Playlists is where the world of comic books and music collide! I have a brief chat with comic creators share what music is on their playlists and give a little insight into their favorite songs.
This week's guest is friend of the show Ashley Burgy. When we're not geeking out over hockey, we're often seen riffing (no pun intended) on the music we love. To coincide with the release of Strange Little Birds, the latest album from alternative rock band Garbage, we decided to take a brief trip back in time to 1998 and discuss some of our favorite tracks from the band's sophomore effort, Version 2.0. Note: We were originally supposed to pick only 5 tracks, but we had to make an exception because, well, Garbage.

 

Adrian: Before we even get started, I just have to say how happy I am to be covering this album. I've loved Garbage ever since I saw the video for "Stupid Girl" when I was 10, but when Version 2.0 came out it was like my whole world opened up. I was obsessed with it!

Ashley: I’ve been a long-time worshipper of Shirley and Co. I was introduced to them through an uncle of mine who I was very close with as a kid. He was a musician and would often give me mixtapes of alt and indie classic songs and we’d discuss them and jam out at length. I asked him at one point about the lack of women in these bands (being the ten year old feminist I was, apparently) and our next visit he handed me three female-fronted albums, Version 2.0 being one of them. It was definitely the most well-worn of the three and sparked a lifelong obsession with Garbage.

Adrian: Funny you should use the word “obsession.” Through all 12 tracks, Shirley’s got her boot down on everybody’s backs and making sure she has their complete attention. She’s equal parts vulnerable but tough as nails. I can’t get enough of this! [Laughs]

"She’s intelligent, tough, and not afraid to go against the stereotypical ideas of what a woman should be."

"She’s intelligent, tough, and not afraid to go against the stereotypical ideas of what a woman should be."

Ashley: You could boil this album (and the band itself really) down to this idea of juxtaposition and balance. Tough yet vulnerable lyrics, mechanical yet organic musically, dark but uplifting and catchy as hell. Even in the sort of visual of the band itself: you have this beautiful, younger woman with these tougher-looking older guys, and you assume from the visual that she’s nothing but a calculated marketing ideal specifically chosen to sell posters and fantasy as well as albums. Until you actually listen to what she has to say and see the band interact--you can see the level of respect and affection the four of them have for one another, and it becomes instantly apparent that Shirley isn’t your typical pretty airhead. She’s intelligent, tough, and not afraid to go against the stereotypical ideas of what a woman should be.

She has this...aggression to her, which...I don’t mean aggression in a "Courtney-Love-punching-people-in-the-face" sort of way, but in a non-passivity sort of way. She’s soft spoken, but that doesn’t mean that she doesn’t feel passionately or will put up with some bullshit. Which I, as someone who is herself a fairly quiet person, look up to immensely.  (...This turned into a mildly long-winded “I agree with your sentiment, Adrian!” [Laughs])

Adrian: I was too busy laughing about Courtney Love punching people in the face.


1. “Temptation Waits”

Adrian: For a very long time I thought that this was a weak opening track. It took a very long time for me to realize that lyrically this is one of my favorite songs on the album. Earlier you mentioned Shirley’s aggression, which is perfect because she’s got it in spades here, especially in the opening lines:

I’ll tell you something
I am a wolf, but
I like to wear sheep’s clothing

This is peak Garbage: the music is vibrant, but almost...sinister? You’re almost afraid to keep listening! 

Ashley: So, my fangirl is showing, but this song will always be synonymous with Buffy the Vampire Slayer for me. This song is on the show’s first tie-in album, and always felt like this perfect lyrical depiction of the Buffy/Angel relationship arc: this dark and creepy undeniable attraction which spirals into full-blown debilitating obsession. It gives me that image of a first love gone horribly wrong, which….yeah, kinda sums up their relationship. That sentiment comes through musically as well--that sexy-yet-sinister build up into techno-twinged rock that Garbage does so well. I think this is a really great opening track. It gives you a pretty good idea of the type of musical, lyrical, and emotional range you can expect going forward in the album. 
 

2. "I Think I'm Paranoid"

Adrian: This is the perfect example of what I refer to is as the “volleyball approach.” What the band does so perfectly is set up the ball, so to speak, and Shirley spikes it every time. The guitars on the chorus are meaty as hell. Great, now I want a steak. [Laughs]. Also, this song is one of the prime examples of Shirley paying homage to her influences by pulling lyrics (albeit modified) from The American Breed’s classic “Bend Me, Shape Me.”

Ashley: The video for this song...man. I love this song, but I can’t think of it without thinking of the video. I am probably in the minority, but it’s my favorite of theirs. It’s funny that you point out the lyrical homage; the video concept is based on the cover of With The Beatles, and I remember reading that in an interview, as a huge Beatles fan, and going back to watch the video. That visual homage makes that video for me. Each of the band members look striking in black and white, and I love the interlude, where the obvious reference to the photograph is clear. I know that a Beatles reference, visual, music or otherwise, isn’t exactly uncommon, but this is one that makes my heart happy.


3. "When I Grow Up"

Adrian: Is there such a thing as a “Catchy As Fuck” award in the music industry? If not, there needs to be so I can retroactively nominate this song. Chronologically speaking, “Cherry Lips” and “Why Do You Love Me?” didn’t exist yet, so this was the Garbage song that made me grin like an idiot. On an unrelated note, it was this very song that made me cognizant of the concept of golden showers. That’s something that was always peculiar to me because despite it’s radio-ready catchiness it’s a pretty screwed up song lyrically and even weirder because it’s attached to a movie in which Adam Sandler takes care of a small child... [Shudders]

Ashley: To be fair, aren’t there a multitude of urination jokes in that movie? 

Adrian: It’s an Adam Sandler flick, so taking the law of averages into account there’s gotta be about 40 of them, easily.

"...And despite giving a nod to the “Fuck it, just act like a child” M.O. of Adam Sandler’s career, I still feel really dirty about this song being forever attached to some dogshit movie he made."

"...And despite giving a nod to the “Fuck it, just act like a child” M.O. of Adam Sandler’s career, I still feel really dirty about this song being forever attached to some dogshit movie he made."

Ashley: This song gives me warm and fuzzies, because I was a bridesmaid in a wedding for one of my closest friends from high school and the wedding party walked down the aisle to this song, which, being me, I loved, but I’m sure left a lot of people confused. I asked her about it at one point, and she laughed at me and told me that “growing up is relative. People think getting married makes you stable and an ‘adult’, but [she and her husband] aren’t grown-ups, they’re just kids who got old. Why not embrace it?”

I loved that she used her own wedding to point out how ridiculous the idea of adulthood and settling down is. Because I don’t think any of us really, truly, 100% feels like we have our shit together all the time. There’s always going to be some new situation in which you’re mentally flailing and desperately trying to figure out which fork on the left you’re supposed to be using. 

...And despite giving a nod to the “Fuck it, just act like a child” M.O. of Adam Sandler’s career, I still feel really dirty about this song being forever attached to some dogshit movie he made. Ugh.


4. "Special"

Adrian: I wanted to bring up this amusing anecdote about a childhood crush I associated with this song in 8th grade, but forget all of that. WAS THIS NOT THE GREATEST MUSIC VIDEO EVER? Seriously, I watched an unnecessary amount of MTV in hopes of catching a glimpse of this video. The cool, sci-fi style, the aerial dogfights and Manson’s outfit.. Oh, and the nod to Chrissie Hynde at the end of the song.  Why is Shirley so wonderful at everything she does? 

Ashley: First of all, if you know someone who doesn’t like this song, divorce them immediately. You don’t need that kind of negativity and wrongness in your life. 

...Which is basically this song. If you haven’t wailed along with Shirley and Co. with a particularly awful friend or ex in mind, trust me, you did not mourn the end of that relationship properly. One thing I love about Shirley’s lyrics in general, but this song in particular, is how they manage to be universal and yet just specific enough to where you can relate them to specific people and situations. Where you can hear this song and instantly be transported to a specific time in which you were feeling or experiencing something real. I enjoy plenty of bands, but few do I connect with on that level, I guess. Like a time machine that you’re still making memories with. 

Also, the fact that some Everlast/Santana collaboration beat this out for a Grammy is just one of the multitude of examples why the Grammys are wrong and fill me with rage. But I digress. Moving on… 


5. "Hammering In My Head"

Adrian: As if I there’s anybody left that isn’t aware: I am a huge fan of the James Bond franchise. The late 90's saw that fandom hit critical mass. I was a member of not one, but two James Bond RPG chat rooms on AOL and I wrote a lot of fan fiction. This song served as the basis for one such story which dealt with Bond’s entanglement with a beautiful assassin. Think Captain America: The Winter Soldier, but the Winter Soldier is female. And there was a lot more violence and nudity. Don’t judge me.  

Ashley: That is the cutest fucking thing I have ever heard. [Laughs] Anyway, this song for the longest time was that song between “Special” and [SPOILER]. I didn’t hate it, I didn’t really love it, it was just there as a placeholder between two of my favorite songs from this album. But in listening to this album again as a whole...damn, this song is badass. That beat is relentless and catchy, that guitar riff is blaring, the drums are badass….yeah. There’s this level of intensity that isn’t there with a lot of the other album. I just imagine the band collapsing in a tired heap after performing this.

I could definitely imagine the Bond soundtrack people hearing this song in particular and deciding to have them record their next theme. Speaking of songs that are badass…”The World Is Not Enough” is one of my favorite Bond themes, for one of my *least* favorite Bond movies...but I digress.  I want to kick all kinds of ass to this song. End of story.


6. "Push It"

Adrian: Holy shit. There’s so much to say about this song and I’m not even sure if I’m comfortable enough to recollect any of it. I barely got away with telling that 007 chat room story! At the risk of embarrassing myself any further, I’ll just say that this was one of those songs that a 13-year-old Adrian probably should have avoided like the plague. [Laughs]

Ashley: I will never understand why this wasn’t the Garbage track that ended up on Gran Turismo. Did I mention “I Think I’m Paranoid” was on GT2? And that it always seemed to be the song happening just when I was stuck on a stage or losing, so even though I love it, I have this urge to throw a PS1 controller through a dinosaur-age TV every time I hear it? No? Well, pretend I did.

When this song comes on in my car, I know full well my tiny four-cylinder engine will suffer for the next four minutes and change. That build up to the chorus is perfection, and when the music kicks back in and the aggressive vocals and music kick back in, I just wanna drive fast and fuck shit up. [Laughs] Most of the time though, I’m forced to swear at the non-moving traffic. It’s not fair that imagination and real life don’t match up more often. [Laughs] 


Follow Ashley Burgy on Twitter or at Indigo Owl Accessories on Etsy.