Hi Danny, welcome to VENTS! How have you been?

-Rapidly shifting between deep existential despair over existence being a simulation/instant meteor death/the arbitrary nature of reality and excitement that the French place down the street put pig’s feet back on the menu.  So, basically, normal.

Can you talk to us more about your song “The Truth About You”?

-Not anymore than the lyrics could tell you.  At the risk of being pedantic, I think it’s obvious that the “You” that keeps surfacing throughout the album is really “Me”.   That’s the not-so-secret ‘secret’ of the record.  Folks like things explained to them these days, and I don’t mind.  I don’t see it as a function of anxiety or stupidity, more a function of the sheer amount of information we must parse nowadays.

Did any event in particular inspire you to write this song?

-It’s a pastiche of my late 20s, mixed with some codependency themes.  I’m glad I survived. 

Any plans to release a video for the track?

-Given the imagery in the song, I think a video would be redundant.  If a particularly vicious live version was filmed, there’d be sense in doing that, seeing as how every band I’ve ever been in has been better live than on record. 

Why naming the album after this track in particular?

-It’s the shortest, that had some appeal.  Aesthetically it checks all the boxes, punk/metal/rock n roll.

Why taking so long on releasing this material?

-I quit making records because I became a dad.  I wanted to be great at that.  There’s a narcissism in being an artist that I felt, perhaps incorrectly, that was incompatible with parenthood.  Personality disorders, simulated or not, can make for great rock music (just look at Van Halen.  You could cross reference late 70s interviews with them with a DSM for hours.).  I was having trouble separating my rock songwriter persona from the type of person I felt would be a good parent.  You could debate whether we needed more good rock records on the planet, good people, however?  Not up for debate. 

I know this sounds hopelessly pretentious, but I really did the record for myself.  I had a chance to work with probably the greatest rock drummer I’ll ever see, and I couldn’t pass it up.  Even if you’re making burritos, if you’re doing things at a high level it changes you, changes the way you interact with the world. 

How did time serve on the advantage of this record?

-I ran out of money quite a bit.  Confidence tricks on your relatives can be time consuming. 

How was the recording and writing process?

-It was best when I just closed my eyes and did it.  I love rock n roll music, I think the era where soul and r&b was turning into rock n roll is possibly the greatest music ever recorded.  I have no idea why I want to make rock records. It’s just there.

What was it like to work with Kyle Spence and how did that relationship develop?

-I had tracked some stuff over at Chase Park Transduction in Athens with David Barbe. We’d talked long about Kyle’s genius.  I had heard Kyle was setting up a studio of his own, and David just shot me his number.  Kyle and I knew each other in passing, but I cold-called him.  It worked from the get-go.  We ended up producing three other bands together. 

How much did he influence the album?

-Obviously, the guy is a supreme drummer.  Normally you’ll get a guy who only has tone, or chops or swing.  Kyle’s got all three, more so than anyone I’ve ever seen.  Seeing him toil in relative obscurity in Athens, it was like finding out Greg Maddux was pitching for single-A Toledo Mudhens.  Listening to playback at times, I would be incredulous: “why is this guy not touring with <insert-legendary-band-here>?” I kept waiting to find his basement was full of runaways or he had some latent malevolency that I just hadn’t encountered, but, sadly, nope. His fridge only has a carton of smokes, some guacamole, and stray Coors Light- he’s straight as an arrow.  He’s the champ.

Rock records are really all about the drums/groove and the vocals- everything else is just window dressing. We’d do two or three takes and it would already sound authoritative. Finishing it at that point was just a matter of course. 

Kyle was fastidious about sounds and feel, as all good engineer/producers should be.  Other than that he gave me a ton of confidence as a guitarist. There was a point where I really began to doubt whether I should be playing guitar solos at all. He made it fun and musical again.

What role did Star Wars play in the writing on this record?

-Anything late-70s is superglued to my consciousness, it’s ever-present.  I have those wonderful childhood memories of Bon Scott, Darth Vader, Conan, all kind of being the same thing. Han shot first, maybe?

Where did you find the inspiration for the songs and lyrics?

-Life, maaaaan, life.

Any plans to hit the road?

-I keep hearing that line in “It’s a Long Way To The Top If You Wanna Rock n Roll”: “hotel, motel, make you wanna cry.” I don’t think there’s a much truer lyric in the whole pantheon.  Damn, touring is such a young man’s game. I have no idea. 

What else is happening next in Injected’s world?

-A video, some shows, hopefully with Steve Slovisky and Chris Wojtal.  We’ll see where that lands.

About RJ Frometa

Head Honcho, Editor in Chief and writer here on VENTS. I don't like walking on the beach, but I love playing the guitar and geeking out about music. I am also a movie maniac and 6 hours sleeper.

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