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Faux Ferocious interview with Terry Kane, Dylan Palmer, Reid Cummings and Jonathan Phillips


Every once in a while, I need to listen to some real good old fashioned garage rawk.  Something fun, not overly complicated, but encompassing the mid-fi punkish, manic energy of my own life.  Every once in a while I need something fun, something like Faux Ferocious.  If you’ve ever heard a good band live you can really tell what a band’s made of that way, and Faux Ferocious’ recordings all sound like they’re live, so I have a real sense of appreciation for their stuff in that sense to begin with.  The warts and all approach to recording is a difficult road to hoe and often one without accolade, but it’s an honest and intriguing one when travelled correctly.  It’s extremely difficult to just slap a label on what Faux Ferocious is doing as well, they bring together all these really cool elements of psychedelic and classic rock, along with adding some cool surf-ish, light-hearted brevity to their music that’s a breath of fresh air to say the least.  It’s not that Faux Ferocious doesn’t take themselves seriously, though, that’s not what mean that at all.  What I mean is that their name is more than apt.  They have this bubbling action and structure to their songs that seems so fluid and explosive, but they never degrade into an all out screaming fit for any length of time or crash and burn into an all out wall of noise of distortion, or anything.  There’s a precise, intentional restraint apparent in the songs, an almost urgent sense of deliberateness which is a real testament to the band, as they don’t spend an inordinately long time working out structures for songs.  Faux Ferocious has been self-recording and releasing their own music for a long while, masters of their own fate, but they’ve recently inked a deal with Much Records which is going to chronicle the band’s output through a series of 7-inch singles and will certainly ensure people learn the name Faux ferocious once and for all.  Before things got to crazy for them though, I got in touch to talk all things Ferocious with all four founding members, and that’s just what we did.  I won’t waste any more time with trying to describe or sell the band, as they’ll do that for themselves given your attention, so instead I’ll just urge you to read on below and remember, keep it psychedelic baby!

Listen while you read:  http://fauxferocious.bandcamp.com/music


What’s the lineup in Faux Ferocious at this point?  Have there been any changes since the band started or is this the original lineup?

Terry:  The lineup is, and will always be, me, Dylan, Jonathan and Reid.

Are any of you involved in any other active bands or do you have any other side projects going on at the moment?  Have you released anything with anyone else before?  If you have, can you tell us about it?

Terry:  Nothing of any note.

How old are you and where are you originally from?

Terry:  Twenty eight, Nashville, Tennessee.

Dylan:  Twenty six Norris, Tennessee, a small town north of Knoxville.

Reid:  Twenty six, Nashville, Tennessee.

Jonathan:  Twenty six, Nashville, Tennessee.

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

Terry:  I think my brother and sister played the largest part in shaping my musical tastes.  I guess my cousin Rachel too.

Dylan:  There was a really crappy local punk pop punk something scene where I grew up.  I wasn’t very involved with it.  We had a band that tried to play to the scene, but the scene hated us and we didn’t like them.  I started playing music with a guy named Chris Lambert who introduced me to a lot of my current and favorite musical tastes, as well as gave me the bass that I still use.

Reid:  I was in a band in high school.  We played around town quite a bit.  But the main influences were friends and my cousin Zack, my uncle Pete and my brother Brad.

Jonathan:  Didn’t really see a lot of shows growing up, played in a shitty covers/shittier originals band with Reid though.

© Jackson Pollock 

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

Terry:  My dad has always played music.  He taught me Ventures’ songs on the guitar at a young age and has given me pretty much everything I use today.  We still play old time music for fun when I visit.

Dylan:  My parents both have guitars but neither of them really know how to play it.  My aunt in Lancaster, Pennsylvania has perfect pitch, though.  I don’t.

Reid:  My dad played a little guitar, so there was one around the house that I picked up.  My brother left me his first drum kit when I was about fifteen, which I played until just a couple years ago.

Jonathan:  I wasn’t around a lot of music at home growing up, with the exception of Warren Zevon and Lou Reed which my father listened to exclusively.

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

Terry:  Having my brother and sister take me to Lucy’s Record Shop in Nashville.  That and buying every Cash Money CD I could at the Sam Goody at the mall.

Dylan:  My parents would always play the Harvest Moon album by Neil Young.  I remember the songs would get stuck in my head for days.

Reid:  My dad listened almost exclusively to the Beatles.

Jonathan:  Older sister was into Outkast and Cash Money, and I was floored by it.

If you were to pick a single moment, a moment that seemed to change everything for you and opened your eyes to the infinite possibilities that music presents, what would it be?

Terry:  I don’t think it was a singular moment.  I always loved it.  From playing trombone in the fifth grade band to today.

Dylan:  I can’t remember the exact moment, but I remember it was around sixth or seventh grade that I became truly intrigued by everything it had to offer me.

Reid:  Jonathan and I started playing at his mom’s house around ninth or tenth grade, usually with just a snare, hi-hat and guitar.  That’s the first time I remember playing and collaborating with someone else.

Jonathan:  Playing shows in high school probably.

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

Terry:  I don’t remember when I decided to start writing music, but we decided to start recording our own music when we realized it was much cheaper.

Dylan:  I was always writing little songs from the moment I learned to play.  I started to record with an old amp with a tape recorder built into it when I was seventeen.  We would use Audacity at the schools computer lab to layer recordings.  I didn’t like, or was tired of most music on the radio, and this was pre-internet for my household, so you had to make music you liked.

Reid:  I had a cheap 4-track that I recorded on early in high school.  I’ve also spent a lot of time recording with my cousin Zack and uncle Pete in Hendersonville and Leipers Fork over the years.

Jonathan:  Been trying to write since I learned to play.  Recording has been an endless thing to explore and get better at, as much or more than playing an instrument.  It had an immediate appeal when we started doing it a few years ago.


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

Terry:  Guitar from my dad, probably around age eight.

Dylan:  Guitar, seventh grade age.

Reid:  Piano from my parents when I was eight.

Jonathan:  My cousin Jay gave me a guitar when I was fifteen.

How and when did you all originally meet?

Terry:  I’ve known Jonathan and Reid for many years.  We met Dylan in college.

Dylan:  I met Jonathan and Reid through a mutual friend in Knoxville, Tennessee. 

What led to the formation of Faux Ferocious and when would that have been?

Terry:  Boredom in 2008.

Jonathan:  Excitability in 2008.

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

Terry:  Seatbelts save lives.

Dylan:  Smell it.

Jonathan:  Smell it first.

Your name instantly got logged in my brain the first time I heard it.  What does Faux Ferocious mean or refer to in the context of your name?  Who came up with it and how did you all go about choosing it?  Are there any close seconds that you can recall at this point you almost went with?

Dylan:  I’m not sure who came up with it, probably Jonathan.  I think it’s a good name because people either love it or hate it.  There’s no middle ground.

Jonathan:  As I recall, we wanted to book a show and needed a name.

Terry:  It has no real meaning.  Jonathan came up with it and we all said, “Great”.  It’s been a love/hate relationship every since.  Often mispronounced or hated upon, but what are you gonna do?


Where’s the band located at this point?

Terry:  Nashville.

How would you describe the local music scene where you all are at?

Terry:  Pretty tough to break, but healthy.  Nashville has, and will always be, a town with awesome bands.  Knoxville, where the band started, seems to have a pretty cooperative thing going on.  There’s a size/ego difference in Knoxville that we like.  It’s a fun town to have a band in, but Nashville is cool too.

Dylan:  There’s a good amount of things always going on in Nashville, which I feel can make it overwhelming at times.  It’s always a tough crowd, but the music coming out of here is great.

Reid:  Like the others said, Nashville has been a tough place to break into, but it’s a good home base for touring and getting out of town.

Jonathan:  Lots of great stuff in Nashville, Knoxville and Tennessee in general.  It’s God’s state.

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

Dylan:  We’ve been getting much more active booking Nashville.


Terry:  We go through fits.  I think in the past year we’ve become much more involved in the Nashville music scene.  Part of that is a product of touring and booking shows for bands that have helped you.

Has the local scene played a large or integral role in the formation, history, sound or evolution of Faux Ferocious or do you all think you could be doing what you’re doing and sound like you do regardless of where the band was located or what you were surrounded by?

Terry:  I think we could write the songs anywhere.

Dylan:  I agree.

Jonathan:  Yeah, I couldn’t point to anything about being in Nashville that has shaped us, but you do get to see and hear a lot.

How would you describe Faux Ferocious’ sound to our readers who might not have heard you all before?  Is this the sound you all were looking to capture when you started the band or has that kind of changed and evolved over time?

Terry:  Driving?  That’s not how we sounded at first, but I think we were always heading here; we just needed to figure out how to record ourselves to fit our songs and desires.

Dylan:  Chugging music.  Like a choo-choo, just chugging on the down the tracks.  Garage psych punkish band.

You all have a great sound going on but I’m really curious to hear who you would cite as your major musical influences?  What about influences on the band as a whole rather than just individually?

Terry:  Master P, B.G., Young Bleed, UGK, Rolling Stones, Triple Six, Neu, and Devo?

Dylan:  Punk rock and folk music.

Jonathan:  Yungstar, Cave, and Devo.

What’s the songwriting process like for Faux Ferocious?  Is there a lot of jamming that happens where you kick ideas back and forth where you kind of distill and polish an idea until you have a workable song?  Or, is there someone who usually comes in to the rest of the band with a riff or more finished idea for a song and kind of works it out with the rest of you?

Terry:  We do both.  It’s great if we have a starting point with a riff, but we have had some success finding songs out of just jamming on something for a while.

Dylan:  Some things come out of the ground, some things don’t.

What about recording?  I think that most musicians can obviously appreciate the end result of all the time and work that goes into make an album when you’re holding that finished product in your hands.  Getting to that point though, getting everything recorded and sounding the way that you want it to, especially as a band, can be extremely difficult to say the least.  What’s it like recording for Faux Ferocious?

Dylan:  We’ve been doing everything ourselves which is great.  We’ve done some stuff with other people in the past and it doesn’t sound how we want it to.

Reid:  Once we’ve established the basic direction for the songs we’re recording, Terry and I will get the basic drum and guitar tracks down and build from there. 

Jonathan:  Hard to say.  It seems like we’ve used a different machine every time we record, and each one has a different set of limitations and possibilities.

Terry:  It’s fun.  We’ve done everything ourselves for the past few years with various Tascam cassette and open-reel machines.  We kind of make it all up as we go, and doing it ourselves removes any kind of financial constraints, so we can take our time to get the sounds and all that we want.  It took a while, but I think we’re really starting to dial it in.

Do you all like to take a more DIY approach to recording where you all handle things on your own so you don’t have to work with or compromise with anyone else on the sound?  Or, do you all head into the studio and let someone else handle the technical aspects of things so you can concentrate on getting the best performances possible out of yourselves?

Terry:  It’s all on us.

Dylan:  We would rather do it ourselves.  Jonathan and Terry understand the machines well enough and when outside opinions have been given in the past, the final result wasn’t as good.

Jonathan:  It’s a lot easier to work slowly without someone who’s on the clock and doesn’t care as much as us about making it an interesting recording.  But, we generally overdub almost everything, so whoever isn’t playing is the engineer.

Is there a lot of time and effort that goes into working out every part of a song and getting things worked out perfectly?  Or do you all work out a good skeletal idea of a song and allow for some room for change and evolution during the recording process?

Terry:  Definitely room for change.  Things make themselves apparent when you kind of deconstruct a song to its individual parts during the recording process.

Dylan:  Even songs that we have been playing for almost a year will change around once we start recording. 

Do hallucinogenic or psychoactive drugs play any part in the songwriting, record or performances aspects of Faux Ferocious?  I know there are a lot of people that utilize the altered mind states that those drugs produce and I’m always curious about it…

Terry:  Absolutely.

Jonathan:  Of course.

Dylan:  I think they play a big part for anyone who choices to use them that way.

In 2011 you all released the 7” Brick Beater EP.  I did a little looking around, was that self-released or did someone else put that out?  I saw a couple of conflicting reports and was curious about that.  Can you tell us about the recording of the material for Brick Beater?  Who recorded that and when would that have been?  Where was the Brick Beater material recorded at?  What kind of equipment was used?  Was that a limited release and if so, do you know how many copies Brick Beater was limited to?

Dylan:  Brick Beater was self-released.  It was the first recordings we’d ever really put out.  I think we recorded it at Reid’s family’s studio.  I honestly just found what I think is the last copy of Brick Beater the other day. 

Terry:  Brick Beater was our first actual release and we did it at Reid’s uncle’s studio.  I’m not sure what the gear was.  We released 250 or 300 copies of that.  It was a good start.  I’m still happy with it.  I like the way we do things now, but that was a fun one to make and put out.

Reid:  Brick Beater was recorded at Pete Cummings’ studio in Leipers Fork, Tennessee, Zack Wilson did the engineering.  It was recorded on a Mackie Alesis HD24 board.  Self-released.


In 2013 you released the Self-Titled Faux Ferocious cassette EP for Maximum Pelt Productions as part of Cassette Store Day 2013.  Do you know how many copies that release was limited?  Was the recording of the material for the Faux Ferocious EP very different than your earlier work?  When and where was that recorded?  Who recorded it?  What kind of equipment was used?

Dylan:  I have no idea how many copies were released.  I see them in record stores in Chicago, so hopefully a bunch were released instead of just a few that hang on the wall.  A guy named Magic Ian who runs Maximum Pelt hooked us up with the cassettes.  I believe that all the songs were recorded in multiple places over different periods of time. 

Terry:  We did all of that stuff at different houses we lived in, on our various Tascam cassette machines.  We made that cassette basically to bring on tour, to have some shit to sell and Ian from Maximum Pelt kept like 15 copies to put out on cassette store day for us.  All of those songs are being re-released on a 7” series with Mush Records.

2014 has already been a busy year for you all.  You’ve digitally released two things that I know of, the first of which is the “Right On Track” b/w “Vicious Grin” single.  Were those songs written or recorded specifically for that, or were the left over from one of your earlier sessions and looking for a place to call home?  If they were recorded for this release, can you tell us a little bit about that?

Terry:  We put that up just to kind of send around.  I think it’s been taken down now, but those songs have found homes on the 7” series.  “Vicious Grin” is on the Listen Hard 7” that we pressed earlier this year and it will be repressed for Mush.

Dylan:  We were working on a self-released 7” series and those songs we felt meshed together well enough and decided to release that as the first in the series.  Now that we’re on Mush it will be re-released and I believe our Striking Distance 7” will be considered the first.

Mush Records also released the Striking Distance EP from you all digitally this year as well.  Can you tell us about the recording of the Striking Distance material?  When was that recorded and where would that have been at?  Who recorded Striking Distance?  What kid of equipment was used this time around?  Did you all try anything radically new or different when it came to the songwriting or recording of the material for Striking Distance?

Terry:  That was in the first batch of stuff we did ourselves.  It’s finally being released digitally and physically, although we don’t have the physical copies yet.


Dylan:  Terry sure hit the nail on the head.

Are there any plans to physically release either the single or the Striking Distance EP anytime in the future?

Terry:  Being pressed as we speak.

Dylan:  All kinds of interesting things soon.

Does Faux Ferocious have any music that we haven’t talked about, maybe a song on a single or a demo that I might not be aware of?

Terry:  We’ve recorded eight or nine songs in the past few months that are all coming out on Mush as part of our 7” series that will lead up to a full-length LP. It’s some of our best stuff so far.

Dylan:  We have a 7” series that’s going to lead into a full-length LP.  The LP will have songs off the 7” series, as well as new songs that no one’s pretty ears have heard yet.

With the recent release of Striking Distance EP, are there any other releases in the works or on the horizon at this point from Faux Ferocious?

Reid:  The 7” series with Mush Records that will lead to a full-length release later.

Where’s the best place for our US readers to pick up copies of your stuff?  I did a little looking around and about all I could find was a cassette and some digital downloads…

Terry:  Email us and we will get it in your hands.  I think you can order Listen Hard from Permanent Records in Chicago, too.

Dylan:  We sell ourstuff off Bandcamp.  If you email us we can get you something.  Chicago’s Permanent Records and Bric-A-Brac have a good deal of our stuff.  Nashville record shops might surprise you as well.

Jonathan:  You can buy the Listen Hard 7” on our Bandcamp and we’ll mail it to you.

With the completely insane international postage rates, where’s the best place for our international and overseas readers to cop your tunes?

Terry:  We ship overseas.

Dylan:  If you want, it we will get it to you.  I think we’ve sold some stuff to Norway and Argentina this year.

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


Dylan:  Like us on Facebook, we’re active on there.  Mush Record’s website also puts up news about us.

Are there any major goals or plans that Faux Ferocious is looking to accomplish in the rest of 2014 or 2015?

Terry:  Keep touring, keep recording, keep smokin’, and keep drankin’.

Dylan:  Tour, record, expand.  We’d like to play the west coast again in 2015, too. 

Do you all spend a lot of time out on the road touring?  Do you enjoy being out on the road?  What’s life like touring for Faux Ferocious?

Terry:  It’s fun.  We’ve done a bunch of touring over the past year.  We have a good time together.

Dylan:  We’ve been out pretty constantly this year.  We’ve been doing a Midwest, a northeast, and a southeast circuit pretty regularly.  We love being on the road, meeting new people and discovering what each city offers socially and musically.  For the most part, it’s a stinky van with four guys during the day and rock ‘n’ roll during the night.

What, if anything, do you have planned as far as touring goes for the rest of 2014?

Terry:  October, east coast/Midwest again for CMJ.

Dylan:  We’re going to tour up to, and back from CMJ this year.  That’ll be about a three week tour.  We’ll hit Raleigh, Chapel Hill, RVA, Charlottesville, DC, Philly, NYC, Cleveland, Pitt, Chicago, and on and on.  Get ready.

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

Terry:  Nest Egg from Asheville, Ebony Eyes, Big Bad Oven, and The Mutations, all from Knoxville.  Natural Child, Ego from Chicago, Slushy (Interview here), Jerome and the Psychics, The the Ha-RAng!# from Charlottesville, Cave, Hot Lunch (Interview here), Concord America, Chrome Pony, and Jerusalem and the Starbaskets.

Dylan:  EGO from Chicago, Ebony Eyes from Knoxville, Tennessee, Chrome Pony from Nashville, Tennessee, the Ha-RAng!#  from Charlottesville, Virginia, and Mad Doctors from New York City.

In your dreams, who are you on tour with?

Terry:  Package show with Gucci Mane and Hawkwind.

Dylan:  David Bowie in Shanghai, China.

Reid:  Tim McGraw and Faith Hill.

Jonathan:  Package show with Yungstar and Jerry Jeff Walker.

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

Terry:  We got punked out by a bunch of drugged up bikers at a bar in Louisville.  They quite literally stole a record from our hands and dared us to do something about it.  We’re pacifists and they didn’t quite understand that, and I guess I’m glad they have the record.  Although, I imagine it was just used to break drugs up on.

Dylan:  I’ve had straps and strings break within a few seconds of each other, that’s always fun.  We’ve stayed in some pretty weird places.  We stayed in a house in Alabama once that had rats running around the floor, six foot ceilings and a guy that was furious we had taken one of his beers.  They called it the Relapse House and it had a bathroom that I didn’t even want to take a piss in.  I’m not the cleanliest guy either.

Reid:  I shit my pants at a show in Tucson, Arizona.

Jonathan:  Open mic comedians and a French jam band opening for us in Huntsville, or rolling into Richmond to find that the venue had closed three days before.

Do you give a lot of thought to the visual aspects that represent the band to a large extent?  Stuff like fliers, posters, shirt designs, covers, logos and that kind of stuff.  Is there any kind of meaning or message that you’re attempting to convey with your artwork?  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 originally get hooked up with them?

Terry:  Jonathan and his girlfriend Emma have done some awesome visual stuff for us.  She did the kick drum head and some fliers.  He supplied all the photos for our upcoming 7” covers and I think they look awesome.

Dylan:  As far as conveying a deeper meaning, I don’t know.  We use art work we like and feel it represents the band well.  Emma Schwartz has been a real doll and has been helping us out, and we all enjoy her style.

Jonathan:  Emma Schwartz has come correct with all the fonts and painted our kick drum, etcetera.  emmarschwartz.tumblr.com


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 or purchasing music?  If you do have a preference, can you tell us a little bit about what and why that is?

Terry:  I like 7” singles the best.  They’re fun to collect and I like the idea of a kind of micro-representation of the band that’s able to be combined into kind of a macro-picture of everything we’ve done.

Dylan:  Anyway that someone wants to listen to it is the best way.  I feel 7-inches work well for us because it gives someone something to hold onto and gives us a little money in the pocket, as well as an interaction with someone who enjoys your music.  I don’t purchase music unless I can’t find it on the internet.

Jonathan:  7-inches are awesome, and I like tapes.

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

Terry:  I like to buy records and tapes.  I collect them and listen to them frequently.

Dylan:  I used to IStream most stuff that I want to hear now.  I lost my collection, and regained it, and lost it so I just stopped.

Reid:  I’ve got a collection of old country records that makes me happy.

Jonathan:  I’ve got some records and tapes, tapes are cheap and records look cool and they both sound cool.

I grew up around my dad’s awesome collection of music and I was invited from a young age to partake of as much of that sweet psych and stuff that I wanted.  More importantly though I think, my dad would take me around and pick up random stuff that I was interested in from the local shops and I quickly developed an obsession with coming home, kicking back with an album, a set of headphones, reading the liner notes, staring and the cover art and letting the universe just let the whole thing take me off on this wild trip!  Having something to hold and physically experience along with the music always made for a much more complete listening experience for me.  Do you have any such connection with physically released music?

Terry:  Absolutely.  I wish there were more liner notes these days.  Numero Group does awesome liner notes on their reissues.  They do a great job, really interesting total package releases.

Dylan:  Yes.  I never had the record collection but I had CDs.  I’ve kept CDs for years just because of the emotional connection that I had with them.  The CDs are scratched and surely don’t work, but I still keep moving them from house to house.

Reid:  Same answer as the previous question.

Jonathan:  YES, YES, YES!!!

Like it or not, digital music is here in a big way.  I think that’s really just the tip of the iceberg though.  When you combine digital music with the internet, that’s when you really have something crazy!  Together, they’ve exposed people to the world of music that they’re surrounded by, allowed an unparalleled level of communication between bands and their fan bases and eradicated boundaries that would have crippled bands even a few years ago geographically.  Nothing is ever all peachy keen though, and with the good you’ve always got some downsides.  Illegal downloading is a pretty accepted activity at this point and for a lot of people music is becoming a disposable commodity to be enjoyed and then forgotten about and disposed of when you’re done with it.  As an artist during the reigns of the digital era, what’s your opinion on digital music and distribution?

Terry:  I’m happy if people are listening to our music.  I suppose, I would prefer you steal it digitally than from our hands, but as long as you’re listening and we can keep doing what we do, I’m cool wit it.  Obviously, the best way to buy music is full price, directly from the artist.

Dylan:  I’ve never been one to oppose illegal downloading.  I’ve done a great amount of it and it has exposed me to so much music over my life.  Not everyone has ten dollars to drop on an iTunes album that they might not even like.  I feel the accessibility of the internet will just have to make artists better if they want to stand out and they should use whatever tools they have.  I don’t think anyone has ever downloaded our music illegally, but if people were doing that, it would be a good problem to have at this point.

Jonathan:  I think people should buy from the artist, I think streaming is a joke in terms of paying artists, but what are you going to do?

I try to keep up with as much good music as I possibly can but there’s just not enough time in the day to keep up with one percent of the amazing stuff that’s happening right now!  Is there anyone from your local scene or area that I should be listening to that I haven’t heard about yet?

Terry:  Ebony Eyes, Pyschic Baos and Big Bad Oven all from Knoxville, Tennessee.

Dylan:  Chrome Pony from Nashville.

What about nationally and internationally?

Dylan:  EGO from Chicago, and Timmy and the Tumblers from Athens, Georgia.

Thank you so much for doing this interview!  I know it wasn’t easy to finish but it was awesome learning so much about Faux Ferocious and hopefully you all had fun, or at least a good laugh, looking back on the past few years.  Before we call it a day though, I’d like to open the floor to you for a second.  Is there anything that I could have possibly missed or that you’d maybe just like to take this opportunity to talk to me or the readers about at this point?

Terry:  Keep your eyes peeled for a lot of awesome 7” records we made coming out soon on Mush Records. xoxoxoxoxo

Dylan:  Come see us in October and we’ve got a lot of cool things coming out the next few months, so stay posted.

Reid:  I think you did one heck of a job Roman.  Thanks a bunch hoss cat.

Jonathan:  Lovin’ it.


DISCOGRAPHY
(2011)  Faux Ferocious – Brick Beater EP – Digital, 7” – Self-Released (7” limited to ? copies)
(2013)  Faux Ferocious – Faux Ferocious EP – Cassette Tape, 7” – Self-Released/Maximum Pelt Productions (Cassette limited to ? copies for Cassette Store Day 2013, 7” limited to ? copies)
(2014)  Faux Ferocious – “Right On Track” b/w “Vicious Grin” – Digital – Self-Released
(2014)  Faux Ferocious – Striking Distance EP – Digital – Mush Records

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

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