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The Grasshopper Lies Heavy interview with James Woodard Jared Flores, Mario Trejo and Eric Sandoval

© Andrew Vertiz

When you say The Grasshopper Lies Heavy to people it means a lot of different things.  You’re talking about a band that’s been releasing material for the better part of a decade at this point, and material that really runs the gambit of genres I might add.  From the early programmed drum beginnings of GUN to the luscious soundscapes and space rock of this year’s All Sadness, Grinning Into Flow.  While there’s a thread that connects it all, it might only be visible to the keenest of eyes; nearly imperceptible to al but a select few.  Spanning eight releases and as many years, The Grasshopper Lies Heavy may have produced their greatest work yet.  The amalgamation of sounds found on the above mentioned All Sadness, Grinning Into Glow encapsulates nearly all of the aspects that have at one point or another defined The Grasshopper Lies Heavy’s sound, but has also taken the palette of sound to an entirely new level, not only elevating the sound but the listener along with it.  The building ebb and flow of All Sadness draws the listener in from minute one and doesn’t let loose until the album’s done.  Quiet reserved guitars that build and flutter before retreating back into their hiding places melt with the steady thud of the bass and throbbing heartbeat of the drums, sonic ephemera floating in the back like gossamer chains rattling in the wind, before building into a concrete wall of riff worshipping, amp destroying beauty in a cacophonous rage of sound.  All Sadness, Grinning Into Flow is the beautiful soundtrack to a film that was once in the mind’s of the artists responsible for creating the album, but will inevitably be playing on a loop in your mind ever after.  All Sadness might be their opus, but I’m not inclined to believe that.  This is a band that’s been around for so long they have gone round the bend and come back again, they’re past the breaking point and they’re not going anywhere anytime soon.  I’m inclined to believe they’re just going to keep learning and getting better and better.  In fact, I shudder to even think what these guys are going to be up to five years from now.  I don’t know what it will sound like, I don’t know what you will call it, but I know it’ll be good, I can tell you that, ha-ha!  Enough of my inane pondering and pandering though, there’s a link below for you to sample the goods yourself, and make sure you do so as you won’t be disappointed!  Every current member of The Grasshopper Lies Heavy took part in this comprehensive interview to provide you with an all-you-need-to-know guide to the band and their releases in this writer’s humble opinion.  It should offer tidbits of new information to even the more veteran of fans, as well as effectively operate as a beginner’s guide to the kaleidoscope of sound that is The Grasshopper Lies Heavy, so with out further ado, bon appétit!  


I just recently got into you guys and I only know enough to get me in trouble at this point really.  What’s the current lineup in The Grasshopper Lies heavy at this point?  Is this the original lineup or have there been some changes since you all started?

James Woodard – Guitar, Synth, 
Noise Mario Trejo – Bass, Guitar, 
Noise Eric Sandoval – Drums 
Jared Flores – Guitar, Bass, Synth

James:  The lineup has changed quite a bit through the years, actually.  Eric is our sixth drummer, but he’s been around for a while now.  Mario started in 2007 or ‘08.  Jared is the newest guy; he started on our tour in December.

Are any of you in any other bands at this point or do you have any active side projects?  Have you release any music with anyone in the past?  If so, can you tell us a bit about that?

James:  I’m in another project called Blacknail, which is a scary impov modular synth/synth triggered drums/broken guitar trio.  It’s pretty fun.  Mario and I used to be in The Islands and the Sea, which has a posthumous cassette out on Crowquill Records.  Eric and I were also in a Mega Man cover band called MEGA MAN.  There’s some other stuff too, but I’ll stop now.

Jared:  Yeah, I'm in a couple others bands that are in the early stages.  The Beers, Selfies, Life Decay and another band with some of the same people from those other bands that doesn't have a name yet.

Mario:  As James said, I was in Islands and The Sea with him a couple of years back.  Every couple of years I’ll reunite with my old band mates in Reader.

Eric:  I’m in Ants.

How old are you and where are you originally from?

James:  I’m thirty.  I’ve lived a few places, but San Antonio is my home.

Jared:  I’m twenty four.  With the exception of the brief stint In Chicago I did a couple years back, I’ve lived in San Antonio my whole life.

Mario:  I’m thirty five, lived in Fat City, Texas my whole life.

What was the local music scene like where you grew up?  Did you see a lot of shows or were you very involved in that scene?  Do you feel like it’s played a large or important role in shaping your musical tastes or in the way that you perform at this point?

James:  The local scene in San Antonio is pretty good.  There’s a lot of talent here.  People love to shit on it, but there’s some good stuff going on.  It has its ups and downs.  We kind of get overshadowed by Austin because of its proximity.  People usually get recognized after they move.

Jared:  Over the past year I’ve found that it’s a pretty cool scene.

Mario:  Being the elder in the band, I’ve seen the San Antonio and Austin scenes grow, change, and get boring.  Right now in San Antonio, there’s a lot going on, with lots of genres.  We do always get overlooked by our more vegan/liberal friends in Austin, but I’m used to it.  Austin can keep its’ weirdness, San Antonio will keep its’ tacos.

What about your home when you were growing up?  Were any of your parents or any of your close relatives musicians or maybe just extremely interested/involved in music when you were a kid?

James:  My mom was pretty supportive growing up when it came to me picking up a guitar.  I think she just didn’t want me to blow up the school, so a guitar was a good alternative.

Jared:  There really wasn’t really any interest in other music for my parents than Kiss, old some R&B and oldies type stuff.

Mario:  My father plays guitar and taught me when I was teenager.  He taught me church music at first, and eventually I expanded to other music.  I played with my father for about ten years at church or for family functions.  The last time I played with him, we did Beatles covers for his sixtieth birthday in front of all our family.  It was killer.

What do you consider to be your first real exposure to music to be?

James:  My mom always had music on growing up, and my older brothers exposed me to stuff too.  One of my older brothers would take acid and smoke weed, and make me listen to Pink Floyd and Miami bass music.

Jared:  I’d have to say it was the mix of constantly blaring of Al Green and Kiss around the house; didn’t care much for the latter, other than the distorted guitars.

Mario:  My parents used to play classical music to me when I was a child on a record player.  Eventually my parents showed me The Beatles, The Doors, and Chicago.  My cousins got me into the Miami Bass movement kinda how James’s brothers did.  Funny, how for me, it’s still about how much air can be pushed through multiple speakers

If you were to pick a moment that seemed to open your eyes up to the infinite possibilities of music and changed everything for you, what would it be?

James:  Probably listening to Floyd when I was a kid and finally “getting it”.  “Shine On You Crazy Diamond” comes to mind.  Also, seeing Fu Manchu when I was eighteen was pretty important.  Amps so loud you felt them.  Won’t ever forget how that felt for the first time.

Jared:  It would more than likely be the moment I heard the songs “The Sound” and “Helpless Child” from the Swans album Soundtracks For The Blind.

Mario:  Watching Pink Floyd Live in Pompeii on VHS was a game changer for me, listening to Jimi Hendrix Live at the Monterey Pop Festival.  Just listening to a guitar destroying three full Marshall stacks and realizing it was the late 60’s blew my mind.  Seeing Sonic Youth in ‘97 and a majority of the set list was stuff from the 80’s was amazing.  The crazy Branca tunings messed with my head.

When did you decide that you wanted to start writing and performing your own music?  What brought that decision about for you?

James:  I think it was just a natural progression from learning to play guitar. 

Mario:  The moment I was asked to start a band with one of my best friends.  Eventually it became part of me.

What was your first instrument?  When and how did you get it?

James:  An Epiphone Flying V.  Got it when I was fifteen.

Jared:  It was some off-brand Strat copy.

Mario:  Acoustic Yamaha guitar.

How did you all meet and when would that have been?

James:  I met Mario thought the music scene.  He was in some pretty prolific bands around town, most notably Reader and Jupiter Mission.  Met Eric through his old band.  We met Jared through Facebookspace.

Jared:  Yeah, I saw that these dudes needed a bass fill-in, so I just went for it and asked.

Mario:  I met James at shows, hung out with him at record stores.  We played shows together before we were in the same band.

When did The Grasshopper Lies Heavy form and what exactly led to that?

James:  I started the band in ‘05 or ’06; did the first few releases with a drum machine.  I was just writing songs in my room during my early years in college, before I really knew any other good musicians.

Is there any sort of creed, code, ideal or mantra that the band shares or lives by?

Eric:  Don’t suck.

James:  Ha-ha-ha-ha, yeah.

Let’s take two seconds to talk a little bit about the name.  I like it, but I get the sneaking suspicion that I’m missing out on something.  Like, either it’s a reference to something I’m not catching or some sort of inside thing.  What does the name mean or refer to?  Who came up with it and how did you all go about choosing it?  Can you recall any close seconds that you almost went with?

James:  The name is a reference to the Philip K. Dick book The Man in the High Castle.  Check it out!

Now, where is The Grasshopper Lies Heavy located at this point?

The Grasshopper Lies Heavy:  San Antonio, Texas.

Do you feel like you’re very involved in the local scene?  Do you book or attend a lot of local shows or anything?

James:  I book shows every once in a while, and host bands that come through occasionally, too.

Jared:  Didn’t use to, but now I go to a couple shows here and there.

Mario:  I have been going to shows on and off since I was seventeen in the late 90’s.  I’m not as involved now, but for a while there I was at a show every night.

Are you involved in recording or releasing any music other than your own?  If so, can you tell us about that briefly here?

Jared:  While in Chicago I was part of a co-op type of label and we released some pretty cool drone/psych/dream pop stuff, but the defacto “leader” and I had a falling out when he wouldn’t send me some stuff that I had mistakenly shipped there after my move back to Texas.

In your opinion, has the local scene played an integral role in the formation, sound, history or evolution of The Grasshopper Lies Heavy?  Or, do you feel like you could be doing what you’re doing and loud like you do regardless of where you were at or what you were surrounded by and stuff?

James:  Regardless of geographical location, I’d be doing what I am doing.  Now, is the psychosphere of South Texas influential on the music we make?  Maybe.  Probably.  But I don’t think it has to do directly with local music itself.  It’s great to have a local scene to cultivate, with killer local bands and venues.  But it doesn’t reflect on our songwriting process.

Mario:  I would be doing this regardless of where I was.  I think being in San Antonio makes you humble.  If you can tough it out for five years in San Antonio, you can make it anywhere.

Okay, so whenever I do these interviews I inevitably have to describe how a band sounds to our readers who may never have heard them before, and sometime more so than others, it’s really hard to do it right.  It’s quickly becoming this kind of neurosis for me, seriously.  Sometimes it keeps me up late at night, wondering if I’ve mucked something up and put too many of my own thoughts and perceptions into the music.  Rather than giving me an ulcer, how would you describe The Grasshopper Lies Heavy’s sound to our readers who may never have heard you all before in your own words?

James:  Yeah, this is hard for me too.  The band kind of has two sides to it.  The first side is a heavy, chunky, mosh pit inducing, sludgy, doomy, metal thing.  And the second side is a more heavy, psychedelic, synthy, soundtracky thing.

Speaking of describing sounds, you all have any extraordinarily interesting combination of influences that seems to be rather eclectic and all encompassing in a lot of ways.  I’m really curious, who are some of your major musical influences?  What about influences on the bands as a whole rather than just individually?

James:  A lot of horror and sci-fi synth soundtracks, John Carpenter, Vangelis, Goblin, Morricone, stuff like that.  Also the guitarist Steven R. Smith and the kraut band Popol Vuh is pretty important; Floyd too.

Jared:  I agree with James on the importance of Popol Vuh; been really obsessed with Steven R. Smith again lately, too.  I don’t think that’ll ever be a bad thing.

Mario:  Floyd, Sabbath, Zombi, Goblin, yeah I think we’re all on the same page here.  Ha-ha.

Eric:  Nobuo Uematsu, amongst many other video game composers.

What’s the songwriting process like for The Grasshopper Lies Heavy?  Is there someone who usually comes to the rest of the band with a riff or more finished idea to work out and compose with the rest of you all, or do you all get together and just kind of kick ideas back and forth and jam until you distill and polish something that you want to work on further from the exchange between members?

James:  I usually bring riffs to practice and we play with ‘em and turn ‘em into songs. 


What about recording?  It think that most musicians at least, can appreciate all the time and work that goes into recording an album when they’re holding that finished product in their hands.  But actually getting to that point getting everything recorded and sounding right, and especially doing that as a band, can be extremely difficult to say the least.  What’s it like recording for The Grasshopper Lies Heavy?

James:  Yeah, recording is a challenging process for us.  Not so much in the tracking, but in the mixing department.  I was very particular on the new album especially.  We finished principal tracking in two or three days, mixing took much longer.


Mario:  I used to loathe recording, but after this last record I’ve started enjoying it a lot more.

Do you all spend a lot of time working out the structures of songs before you lay them down and record them?  Or, is it more of a case where you get a good skeletal idea of what a song’s going to sound like and then allow it some room to change and evolved where necessary during the recording process?

James:  We pretty much know exactly what we want to do when we hit the studio, except guitar solos and stuff like that.

Do you all utilize any psychoactive or hallucinogenic drugs in the songwriting, recording or performance aspects of The Grasshopper Lies Heavy?  A lot of people like to use the altered states that drugs create to make their art in a different or slightly skewed way and I’m always curious about it.

James:  I always perform sober.  I like to keep my wits about me.  Some of the dudes toke in their free time though.  No names.  We’re grownups.

Jared:  I’m of the mind that people tend to make some of the best music when they’re sober.  Then again, I’m always sober.

Mario:  I don’t drink at our shows ‘til after we play, and even at that I’m tired and I just want water and tacos.  I also tend to play really sloppy when drunk.

In 2006 you all self-released the self-titled The Grasshopper Lies Heavy CD limited to only 1,000 copies.  Can you talk a little bit about the recording of the material for that first release?  Was it a fun, pleasurable experience for you all?  When and where was that recorded?  Who recorded it?  What kind of equipment was used?

James:  Oh gosh, I never even think about this record anymore.  Someone in Conway, Arizona requested one of the songs on this record on our last tour, and that was kinda crazy to me, because I can’t even tell you how that song goes!  The first EP was basically songs I wrote messing around with a laptop.  I didn’t really know many other people, so it was just me and a bass player, and the laptop did the drums.

You all followed up the Self-Titled CD with the completely bonkers GUN EP on the Forgotten Empire records label which has an interesting story to it, at least in my opinion.  The CD has like fifty-four tracks on it and the six songs on it are all placed in between these beeps and weird sounds and stuff, all of which are named after parts of a revolver handgun which is all laid out in the artwork for the digipak.  Can you tell us a little bit about how GUN came to be?  What was the initial idea behind the album?  Was the recording of the material for GUN very different than your earlier Self-Titled release?  Who recorded that material and where was that at?  When would that have been?  What kind of equipment was used?

James:  GUN was more of the guitar, bass, laptop duo era, so the songwriting and recording were very similar.  Yeah, the beeps thing.  I don’t know what I was thinking with that, other than CDs being boring.  We recorded this one, along with the self-titled and Soft Noise albums, at a little studio called Electro with our friend Justin Morris.  Morris is an incredibly talented cat, and since running Electro, he’s relocated to Austin and founded Western Dynamo, a pro audio gear company which sells his beautiful compressor he designed from the ground up.  He also records in much nicer studios now.  We might record our next album with him, straight to 2” tape. 


In 2008 you released your third EP in three years, Soft Noise again for Forgotten Empire records.  Now I don’t know if I heard this correctly but from what I’ve heard all of that material was written and recorded in one day?  How did that all come about and what led to the release of that material, or had that kind of been the initial idea all along?  When was that material recorded?  Where was that at and when would that have been?  What kind of equipment was used that time around?

James:  I think it was in ‘06 or ‘07.  I bought a Hammond Organ from the Salvation Army and decided to bring it to Electro to experiment with.  Morris and I miced it up a few ways and experimented with it for a few hours.  After recording, we boiled it down to a fifteen minute edit.  It was a fun day.  The label at the time wanted to put it out, so it happened.  It’s super out of print, along with the other Forgotten Empire era stuff.  I’m not even sure if I have a physical copy anymore.

2013 saw the birth of two new tracks, “Sucker” and “Dead Songs for Dead Bands” which were released on the In Love split single with God Townes on the Texas Is Funny label and limited to only 300 copies.  Were “Sucker” or “Dead Songs for Dead Bands” written or recorded specifically for this single or had they been around for a while looking for a place to call home?  If they were recorded for the single, can you tell us about the recording of them?  You probably know the drill by now, ha-ha, but who, what, where, when and how? 

James:  We had “Sucker” already written, and “Dead Songs for Dead Bands” was a heavily modified version of an Islands and the Sea song; one of James and Mario previous bands.  They came together pretty quick.  We recorded these songs, along with another song, over a single day during Christmas vacation.  We recorded the songs with longtime friend Bob Catlin, who has been around the world with bands like Pigface and Psychic TV.  He also recorded the 2011 album, Every Man For Himself and God Against All and our new album, All Sadness, Grinning into Flow


You recently released the All Sadness, Grinning Into Flow 12” for Learning Curve Records.  Was the recording of the material for All Sadness very different than the sessions for your earlier material?  Can you tell me a little bit about the recording of that material?  Where was it recorded and who recorded it?  When would that have been?  What kind of equipment was used?  Is the LP limited at all?  If so, do you know how many copies it’s limited to?

James:  Principal tracking was finished really fast; Eric finished the drums on the first day, then Mario finished bass on the next day.  We also had an arrangement for strings and horns recorded by a pal, Marcus Rubio, for us at Cal Arts, so we had to mix those tracks in as well.  Then the overdubbing, mostly dual guitars and synths.  As previously mentioned, the mixing took the longest.  I was pretty particular about it.  We recorded it at our friend Bob Catlin’s house, who recorded, engineered, and mixed it.  The LP is limited to 300 copies, 100 in each color.  Some of the color variations are really close to selling out.


Does The Grasshopper Lies Heavy have any music we haven’t talked about yet, maybe a song on a compilation, single or a demo that I might not know about?


James:  We did a split with Hawks from Atlanta called Fluffer, and we had an album in 2011 called Every Man for Himself and God Against All, which was out of print for a few years until Crowquill Records wanted to reissue it on vinyl.  The reissue just came out, and it’s gorgeous.


Where’s the best place for our US readers to pick up copies of your stuff?

James:  At shows, or directly through our record labels’ websites.

With the completely insane international shipping rates that just seem to keep going up and up, I try and provide our readers with as many possible options for picking up imports as I can.  Where’s the best place for our international and overseas readers to score your stuff?

James:  I think our label Learning Curve has Euro distro.  Poke around!

And where would the best place for our interested readers to keep up with the latest news from The Grasshopper Lies Heavy like upcoming shows and album releases at?

James:  Facebooktwitterinstagram is a great place!

Are there any major plans or goals that you’re looking to accomplish in the rest of 2014 or 2015?

James:  We’ve been on the road a bunch this year. This fall I want to write a new album and record it live to tape. That’d kick ass.
Jared:  Really looking forward to recording with these dudes.

Mario:  I’m stoked on recording again. Gonna be great with all four of us there.


Do you all spend a lot of time out on the road touring and stuff?  Do you enjoy being out on the road?  What’s life like on tour for The Grasshopper Lies Heavy?

James:  We’ve spent about a month on the road this year; two weeks over Christmas and New Years, and two and a half weeks this summer.  Touring’s fun, but it definitely has its ups and downs.  Meeting people and playing with amazing bands makes up for all the bullshit you have to deal with though.  Best times.

Jared:  I love it.

Mario:  I wish I could tour more.  Working on it!


What, if anything, do you all have planned as far as touring goes for the rest of 2014?  I know as I write this you all are out on the road actually but I don’t know if you all have anything else planned for the rest of the year.

James:  We’re going to do some weekend warrior stuff here and there, but I want to concentrate on writing and recording some new music for the rest of the year.


Who are some of your personal favorite bands that you’ve had a chance to share a bill with over the past few years?

James:  Torche and Coliseum come to mind.  More recently, we’ve played with a bunch of killer bands on tour, such as Gay Witch Abortion, Wymyns Prysyn, Pretty Please, Lechuguillas, Glassing…  Gosh, there are too many to remember.

Jared:  I haven’t been in the band long, but sharing stages with Gay Witch Abortion, Wymyns Prysyn and Ghost Police have been highlights for me.


Mario:  Torche, Hawks, Wymyns Prysn, Glassing, and so many I can’t remember either...

In your dreams, who are you on tour with?

James:  The Torche guys are super nice dudes.  They’d probably be a blast to share the road with. Melvins.  Boris.  Goblin.  Zombi.  Nine Inch Nails.


Jared:  What James said.

Do you have any funny or interesting stories from live shows or performances that you’d like to share here with our readers?

James:  There are so many.  On this last tour, in Conway, Arizona, this guy opening for us had been on tour about six weeks, and had really bad strep throat.  He drives up after staying in the hospital all day high as fuck on codeine.  He wears a blue onesie onstage, berates the crowd in between songs, and sings songs about how smoking cigarettes is cool.  He was high as fuck, telling kids “Who the fuck are you people? What kind of people live in this town?  I drove up to this building and just knew this show would suck.  This is hell!”.  It was incredible.  I almost died laughing.


Jared:  That dude in Conway, Arizona was hilarious!  On our last tour, we managed to land a show on New Years Eve in Clarksville, Tennessee.  Us and the dudes in Ghost Police ended up playing to a bunch of college kids high on acid and dressed in their spirit animal attire.  They just kind of sat at the tables and were probably wondering what was going on.

Mario:  That one band with the “Cesspool” song was a trip in Houston.


Do you all give a lot of thought to the visual aspects that represent the band to a large extent, stuff like flyers, posters, shirt designs, logos and covers?  Is there any kind of meaning or message that you’re trying to convey with your art?  Do you have anyone that you usually turn to in your times of need when it comes to that kind of thing?  If so, who is that and how did you get hooked up with them?


James:  In terms of merch, I design most of it.  I screen print everything myself, or with my girlfriend.  For album covers, we always use local artists whose work I admire.  We’ve used artists such as Meghan Fest, Michael Velliquette, Nicholas Hay, Linda Arredondo, and Underbelly Printing for our artwork.  As an artist and art teacher, artwork is really important in the band, especially album art.  In terms of messages in the artwork, I think the new album has a kind of dark, southern Occult mysticism to it, which I think goes hand in hand with the music.



With all of the various methods of release that are available to musicians today I’m always curious why they choose and prefer the various mediums that they do.  Do you have a preferred medium of release for your own music?  What about when you’re listening to and or purchasing music?  If you do have a preference, can you talk a little bit about why?

James:  I prefer vinyl over anything else.  I’m also big on cassettes.  I’ve got a pretty sweet record and tape collection.  I recently got a CD player from Goodwill, so I’ve been playing some older CDs too.  I rarely buy CDs though; I try to keep it analog when I can.

Jared:  I prefer vinyl and cassettes.

Mario:  I’m getting back into vinyl and cassettes.  I’m not a huge collector though.

Do you have a music collection at all?  If you do, can you tell us a little bit about it?

James:  I’ve got a fairly large vinyl collection.  Mostly modern stuff, and a lot of movie soundtracks.

I grew up around a pretty big collection of music and my dad was constantly picking me up anything that I thought sounded cool from the local shops when I was a kid.  I would kick back with a set of headphones, read the liner notes, stare at the cover and just let the whole thing carry me off on this trip, man!  There was something magical about having a physical object to hold an experience along with the music that always made for a more complete listening experience, at least for me.  Do you have any such connection with physically released music?

James:  Yeah, my mom has a pretty cool record collection.  I remember when I was a kid I copied her Sabbath I album to a cassette and listened to it on my boombox a lot.  She also had Dark Side Of The Moon on vinyl, and that was pretty important.  I remember the feeling of being awestruck looking at gatefold album covers by Yes and Floyd, along with the triple-fold Woodstock record and all that shit.  I’ve always loved albums.

Digital music is here, and it’s here in a big way.  Digital music is just the tip of the iceberg, though.  When you combine it with the internet that’s when things get really crazy.  Together they’ve exposed people to the literal world of music that they’re surrounded by, allowed an unparalleled level of communication and eradicated a lot of bands that are related to geography that would have crippled a band even a few years ago.  On the other hand though, while people maybe exposed to more music than ever they’re not necessarily interested in paying for it and illegal piracy is running rampant right now.  As an artist during the reign of the digital era, what’s your opinion on digital music and distribution?

James:  It’s a blessing and a curse.  It’s good because anyone can hear you.  We get Swedish kids liking us on Facebook.  A negative is that anyone can put their music up, and there sure is a lot of mediocre shit out there, so the market is kinda oversaturated right now.  Labels are still viable because they wade through the shite and curate a roster.  It’s like throwing an art show.  If you like one band on a label, there’s a good chance that you’ll like a few more too.


I try to keep up with as many good bands as I possibly can.  Is there anyone from your local scene or area that I should be listening to I might not have heard of before?

James:  There’s a bunch of great shit in South Texas.  Since this is a psych based mag, you should definitely check out the band Sungod, and their member Michael Sharp’s solo stuff; super cool.

Mario:  Check out Mike Sharp’s stuff for sure.  Last two albums are on constant rotation at my place.

What about nationally and internationally?

James:  I can recommend you some great horror films.

Thanks for taking the time to talk to me, it was awesome learning so much about the band and I hope you all at least had some fun looking back on everything you’ve done and managed to accomplish as a band.  I swear I’m done with my question, but before we call it a day I’d like to open the floor up to you for a moment.  Is there anything that I could have possibly missed or that you’d just like to take this opportunity to talk to me or the readers about?

James:  Yeah, thanks for reading.  Definitely check out our new album on Learning Curve Records and get that shit on vinyl.  Also, Crowquill Records just reissued our album from 2011 on vinyl, so get that too.  We’re really proud of these vinyl releases, they’re both beautiful and these labels deserve your hard-earned chump change.  And find us on the internet.  And come to a show!  Free hugs!

Jared:  Many thanks for reading!

Mario:  I have said this before, but the support for this band is overwhelming at times.  I’m thankful for that and to play with such talented guys.  Thanks!


DISCOGRAPHY 
(2006)  The Grasshopper Lies Heavy - The Grasshopper Lies Heavy EP – CD – Self-Released (Limited to 1,000 copies with hand silkscreened covers by ThumbPrint Press)
(2007)  The Grasshopper Lies Heavy – Gun EP – CD – Forgotten Empire records
(2008)  The Grasshopper Lies Heavy – Soft Noise EP – CD – Forgotten Empire records
(2010)  The Grasshopper Lies Heavy – Every Man For Himself and God Against All – Digital, CD, 12” – Self-Released/Crowquill Records (Crowquill 12” 1st pressing limited to 300 Black and Pink Vinyl copies)
(2010)  The Grasshopper Lies Heavy/Sohns – Werewolf: The Grasshopper Lies Heavy & Sohns – Digital, Cassette Tape – Self-Released?
(2010)  The Grasshopper Lies Heavy/Hawks – Fluffer – Digital, Cassette Tape – Self-Released?
(2013)  The Grasshopper Lies Heavy/God Townes – In Love – Digital, 7” – Texas Is Funny Records [The Grasshopper Lies Heavy contributes the track “Sucker”] (Limited to 200 Pink Vinyl copies, 200 Gold Vinyl copies and 100 Blue Vinyl copies)
(2014)  The Grasshopper Lies Heavy – All Sadness, Grinning Into Flow – Digital, 12” – Learning Curve Records

© Andrew Vertiz

Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014

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