MUSIC BLOG

Don't miss Future Twin's "locals only" release party this Saturday!

• Author: Mike G
• Published: Wednesday, November 09, 2011

I wish I could look forward to being identical twins with Future Twin some day. Then maybe we'd work out one of those secret languages twins have and I'd understand where their brilliantly catchy punk-noise-pop is coming from.

Until then, I'll just have to stand there and watch them in awe like everyone else. Awed, mainly, by Jean Yaste's impossibly loud, throaty, howling voice. She's all sweet and nice when you talk to her offstage, then she gets up there and just belts it out with a fierceness that is something to behold. And the music underpinning it all is just the right mix of garage punk riffs, psychedelic noise, and pop dynamics to complement her otherworldly vocal stylings.

The couple times I've seen Future Twin live I've really dug the rest of the band, too. Amanda Hallquist on vocals and keys, primarily, bringing that Murder City Devils-style organ flavor, and William Cotton playing booming drum tracks on a Roland Octapad, which I dug because you don't often hear a garagey psych band playing all-electronic drums. But the lineup has changed, now consisting of Antonio "Tones" Roman-Alcala, who is responsible for "Skins, In Search of Good Food;" Rodney Treat Gyannoulis, who is in charge of "making shred tents;" Joseph Bleak Reiter, who holds down the "bass afrobeats;" and Stephanie Rose on "synth swirls and baby blues." So as you can see, this Saturday's release party for Future Twin's new Situation EP is sure to be full of surprises.



I had a chat with Jean about the new EP, the Octapad, and the future of Future Twin. Check it out, homeys.

WTM: Where was the new album recorded? Who with?

JY: Our debut EP, Future Twin "Situation," was recorded at Ghost Cat Studios, located in SOMA, and engineered by Ryan Kleeman and Jay Marston; and also at "Place is the Place" and "1924 Franklin is a Car" by Jon Bernson of Exray's, in Oakland. We also did some vocals at the Sunset Neighborhood Beacon Center, thanks to the Urban Music Program. Jon Bernson helped us mix and produce both the EP that's coming out now, and a 7" that's due out early next year.

WTM: How'd the recording process go? What was "the sound" y'all were trying to capture? Were there any surprises in how it turned out?

JY: Recording process was hella slick. Ghost Cat is super rad, Jay's super rad. We went in once before and kinda didn't have our shit together. Then we rallied, planned and came back full force and SLAMMED IT OUT in 2 days. That was the foundation tracking, live band style, all of us banded together. Then Jon and I did a lot of extra super psych parts later, worked on some stony ideas, talked about the revolution, transient architecture, how to make aleatoric music, and jelly donuts.

Sound-wise? We consider ourselves a psych farmageddon witchcraft rock and roll band... So yeah, the dirge, the harmony, chaos never died. I was surprised to find some secret cell phone communiques via Yuka Ezoe's pocket call to me during a moped ride out to Thrasher Magazine's warehouse in Bayview. She recorded, inadvertently, herself screaming when she almost got in a wreck, tons of tiny engine sounds, and the two of us laughing later at the gas station when I sprayed gasoline all over my engine.... That was a surprise, so of course we had to add pocket call samples to the record. But that's on the "Lockits" song, about the all-girl moped gang we started here in SF, and "Lockits" is the A side of the 7", so you'll have to wait to hear it. Jon had some really cool vocal ideas with "Situation" too, and our drummer, Tones, finally pointed out to me that I was saying "Yuka" all the time in the song "Yuka" (subconscious DUH!)... So we finally made that one official.

WTM: I really dig the Octapad drums you guys have going on. But one of y'all once told me you were aiming to get a full drum set into the lineup at some point. Is that still the plan, or is the Octapad there to stay? Is the Octapad used on the EP?

JY: The octapad was played by our good friend William Cotton, who's also a brilliant tech/media artist. He's currently cutting a solo record as Red Blue Yellow (he writes amazing pop gems!!) and he's a kiwi, so really what's not to love? He will be doing some beat-timed projections with Future Twin for the locals only release show at Engine Works, Nov. 12, complete with arduinos and colors. The octapad may or may not make an appearance. But regardless, Future Twin loves scientists. Our epic drummer Tones held down the beats for the debut EP, as well as the 7", and he's here to stay. Future Twin loves Tones too.



WTM: What's the significance of the name of the EP, Situation? It's not named after that douchebag from Jersey Shore, is it? Can we all agree that guy is the absolute pinnacle of douchebaggery?

JY: The name of the EP, which is also the title track, "Situation," is about cause and effect. I wrote it about a close friend of mine who's been struggling with substance problems for a long time, who I dearly love. I never told her the song was about her, but I'd play it for her all the time, and it was my way of trying to tell her that's she's alright, it's the last line of the song, and to hold on for better things to come, but that it's also hurting me to be so close to her. The lines "all these solid things are just apparitions, all these non-realities, concepts, situations" is kind of about how these things exist in one's mind, "living in your head," but that you can be aware of them, work on it and get better. Often times having strong friends who love and support you can be the last vanguard between people and the void they are constantly trying not to fall into. The words of someone smarter than me once said something I feel sums it up pretty well: "Giving a shit is the new not giving a shit." It's also a little shout out to the Situationists, coz yeah, they are RAD. It's a Future Twin "Situation." Definitely NOT named after jersey shore characters. Those tacky bastards.

WTM: Tell us about the release show.

JY: We're throwing a "locals only" release show for our friends in the Bay, Saturday Nov. 12. We wanna make sure all the lil buddies get a copy of the tape first, especially since there's a first-pressing prize inside, a la cereal box style, yeah BIG KID FUN, thanks to Bahama Kangaroo. DJ Placentina will be selecting, Our Brother the Native // the Mallard // Dead Eyes will be supporting. Cotton will be projecting psyched-out timed visuals, we will transport you. It's at a warehouse in the Mission district, Engine Works, on 17th n Capp. [RSVP here.]

WTM: Any plans to tour in support?

JY: Touring? I'm heading from Joshua Tree to Texas this December to work on a photo book project with my collaborator Taj Robinson. I promised FT's producer Jon that I wouldn't run off to India for a most epic sounding ratbike trip right after the local release, and also FT's maglada manager Austin from Deep Teens that I wouldn't keep leaving willy nilly... Then i think i invited him to Joshua Tree.... haha. So yeah I'm sure I'll be making music somewhere out there, but Future Twin is keepin it real and playin another local show in January, TBA. We are talking about the usual West Coast spring jaunt down into Texas for that one thing tho... this March or April. We would love some tour help a la booking agent I am terrible at the time space continuum.

WTM: What else is next for Future Twin?

JY: Next up? 7" frisbee, candy-colored mushroom chocolates dispersed by happy Irishmen, month-long noise shows at the Tenderloin national forest, more TAZ hunting with Taj (she's also FT's OG photographer), hopefully finally an FT video from my friends Adam at Sound Arts and HeidiYo at Yours Truly, building a sound machine with Kal Spelletich, Dark Materials, Okay Colour Pop Up Band, oh yeah and more records always more records. IN THE IMMEDIATE FUTURE -->GENERATOR SHOWS ON THE STEPS OF CITY HALL --> WE'RE COMING FOR YOUUU.

Next up, we are playing a local SF show in January fo sho.