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A Chat With: Black Belt Eagle Scout

Black Belt Eagle Scout is the creation of singer, songwriter, and multi-instrumentalist Katherine Paul. Paul first got into playing music at a young age as she grew up in the Swinomish Indian Tribal Community and experienced native drumming, singing, and arts. Now based in Portland, where she moved in 2007, Paul started writing music for her own project after becoming immersed in the city’s music scene by playing drums and guitar for numerous other bands.

As an indigenous, queer woman and self-proclaimed radical feminist, Katherine Paul has worked hard and paved her own path to share her voice and her journey with the world. Paul’s debut album Mother of My Children clearly paints a picture of her stories, remaining transparent and honest from start to finish, and her stage presence possesses the same authenticity and composed intensity as her songwriting. Paul’s genuine nature and boundless talent as a creator continues to connect with listeners from different corners of the world, and this month, she will be joining Julia Jacklin on a tour across the country.

A couple of weeks ago when the tour was just beginning, Paul took some time to chat with me over the phone during a drive through the east coast. We talked about her current sources of inspiration, her new single “Loss & Relax,” elevating the underdogs, and what we can expect from her show at Schubas this Wednesday, May 8th. Tune in below to my chat with Black Belt Eagle Scout.

Black Belt Eagle Scout is Katherine Paul // Photo by Jason Quigley

Black Belt Eagle Scout is Katherine Paul // Photo by Jason Quigley

I wanted to start off talking about your early days. I know that you grew up in a small Indian reservation and you’ve said “Indigenous music is the foundation for all of my music.” In addition to your background and the music you learned with your family, what are some other sources of inspiration that you look to when writing now?

I’m currently in a van and we’re driving to New York City, and we’re playing shows. So I feel like at the moment, I’m inspired by the people that I meet and I’m inspired by this life that I have, where I get to drive all over this beautiful country. Right now we’re in Maryland I think. It’s so green and there are these really beautiful purple flowers that kind of look like cherry blossoms, but they’re purple. It’s just so beautiful here and I think that having this life is an inspiring thing for me right now. I feel really happy on tour and sometimes that doesn’t always happen to people. I don’t always feel happy on tour, but right now I’m having a really great time being on the road. And I think that having a healthy and happy tour life is really important for your mental health, and being able to keep your creativity flowing.

Yeah totally. Then in April you just shared “Loss & Relax” from the forthcoming 7” [out April 26th]. What was that creative process and your frame of mind like for this single, and how does it compare to the songs your wrote on your debut album?

Well “Loss & Relax” was written during the time I was recording Mother of My Children. I started writing the first guitar riff, and I wanted to put it on the album, but I just felt like it wasn’t finished and it wasn’t to a point where I wanted to share it. So I kept it in my back pocket and throughout the next year after recording Mother of My Children, I started playing with people and having a live band. I played with a bunch of friends and they helped me realize what that song could be and its potential. It was really interesting being able to play and flesh out a song in a live capacity. In terms of the intensity— I feel like that’s why the song is so intense is because I was able to have that experience of playing it with people. The song also was about the journey home to record Mother of My Children. It’s kind of a perspective song about what that was like and why I needed to go record that album. I think that the way the song is now in its recorded version, I’m very proud of it. I put a lot of effort into figuring out what parts go where and what additions need to be. Basically producing the song.

Yeah, it sounds great now. I’m glad it’s getting a proper release in its own time.

Yeah and that’s kind of why it’s on the 7” It was a lingering element that I don’t know if it would fit on an album in itself.

The music video [for “Loss & Relax”] is a perfect visualization of returning home, and what you’re describing in the song. It’s very cool to see you return to Swinomish Indian Tribal Community and to see you in your element.

I talk about my home a lot and I talk about where I’m from. I feel like besides people who I grew up with there and maybe my close friends who have gone back to visit with me, you don’t really know what that looks like. I wanted to be able to share that and to give a face to the name.

Yeah I think it definitely does that! I also wanted to mention while we’re on the subject of recording Mother of My Children, you played every instrument on the record. What were some of those challenges that you felt while recording and wearing so many different hats during the process, and what motivated you to continue down that path of being a multi-instrumentalist?

Before Mother of My Children, I had done this little demo where I also played all of the instruments, but it was done pretty much in a couple of takes per instrument, and it was very demo-ish sounding. So I already had this idea of “If I can do this myself, I can create an album myself.” I had that mentality going into Mother of My Children that I want to be able to do this myself… I know how to play all these instruments. I know how to put together songs. It’s something that I have knowledge about. So I was like why not just do it? I’m gonna do it!

Yeah I’m sure it gave you complete creative control then, which is important with a first release. And each instrument will come across on the record how you wanted it to.

It definitely is, but it’s also hard because you don’t have someone who you can bounce ideas off. Sometimes you just have to go with your gut and rather than feeling validated about an idea, which that sort of thing can be hard for me— Just being able to be like oh, I’m not sure about this part, and then not having anyone to have that conversation with. I don’t work with any producers, so it’s basically just me and a recording engineer. I would do it all myself if I knew how to record, mix and master, and have it sound nice. That’s definitely a goal of mine down the road. The way that I work is I like to record into the night and I like to take breaks, and that doesn’t always work when you’re paying for studio time and you have a time limit. That was one thing that was difficult— being on a budget and trying to record the instruments by yourself. I paid for the whole thing all by myself and went in every day and played every instrument all by myself. At the end of every day, I was exhausted. I was trying to get as much done as I could. It’s not cheap to record in the studio, so I had my little savings and was like this is as much as I can spend, so let’s try to get this done in this amount of time.  I was fortunate enough to stay with my parents because I recorded in Anacortes, WA, which is where I was born and then I grew up 15 minutes outside of there at Swinomish Indian Tribal Community. So my mom was really helpful and she fed me and gave me food to take to the studio, and then I came home and could relax. If I didn’t have that, it would have been a lot more difficult having to create that album from scratch.

So speaking of your hard earned savings, I saw that article in Vulture where artists talked about their side hustles. You’ve worked in Portland in music venues as a talent buyer and in production. What’s something you’ve learned from being on both ends of the business as a performer and someone who books talent, or advice you’d give to other musicians who maybe haven’t been on the other side of it?

I’ve been working there for a long time. I still work there but not in the same capacity that I did before I decided to embark on a really long tour. I started working at Mississippi Studios after I graduated college. It was my first job out of college and they liked me enough that I’ve worked there for seven and a half years. I’ve done so many jobs there...I was production manager, then I was box office, then I’ve done ticket managing. I was the talent buyer, and then I was just like an office manager. So I feel like I’ve sort of lived the life of being in music venue production, and having that experience and while also being a musician….One of the things with Mississippi Studios is that it was established by a musician, so I was able to go on tour in other bands that I was in, and they let people take time off of work to go on tour, and then come back and work. They’re very understanding of that. Being a musician and also working at a venue, it feels like you get to be some sort of superhuman musician at times. Like you know what’s going on for your job side, and also you know what to do for being in a band. Being on the road, I’ve been advancing all of my shows. I’m essentially like my own tour manager— I have been putting in a lot of work to make sure the whole project is going along the schedule. So it’s an interesting thing to have this knowledge. I think that some people when they get to a certain point in their music career, they go on to tour and they go on album cycles, so they understand what it’s like. But as a musician that’s first starting out, you might not always have that knowledge. I don’t know what sort of advice I’d give in terms of your question.

It’s interesting still to hear your take on the benefits of knowing what’s going on from both sides. It’s good to be knowledgeable.

Yeah it just takes a huge amount of work to be a musician. It’s also interesting going around to different music venues. Sometimes I realize that not every music venue is the best venue to work with. Some sound engineers suck to work with. Some isn’t always perfect. So it’s always an interesting thing to realize.

Totally, then talking about your stage presence, I actually got to see you at SXSW this year for the first time. I loved your set and how there would be more mellow moments followed by you just shredding on the guitar. Who are some performers that you admire their stage presence or maybe look to for inspiration?

That’s a hard question! These questions I always have to think about them for a while, and I feel like I’m gonna have a good answer in like an hour. But I will say this— I love energy. And if there’s something that has energy, no matter what it is…it’s a certain kind of energy though. It’s this intensity. It’s like this love and this passion. I’m so drawn to seeing somebody who’s performing and they’re just getting so immersed into their performance because they’re feeling what they’re putting  out there.

Yeah like a genuine energy, and you can really tell when someone has that genuine energy, versus them just trying to put on a show.

For sure, and that’s my most favorite kind of performer. Exactly that. Someone who’s genuine, who’s putting out passion and energy. I love intensity, especially I love intense drummers who just get into it. One person that pops into my head, when I brought up drumming, is Janet Weiss. Her drumming intensity is what I’m totally into… that sort of element. Sleater-Kinney was one of my favorite bands growing up, and they definitely had a very intense stage presence and performance. So bands like that, I’m super into. I get bored when I see bands that are just kind of standing there not really feeling it. Coming from my music venue side, I’ve seen a ton of shows, I’ve worked a ton of shows, so I feel like there are certain shows where I’m like eh, not really into it. But then some of them, I’m like this is really amazing.

So this might be kind of another question that’s difficult to answer on the fly, but I’ve seen you’ve been asked a lot in other interviews about your identity as a queer, indigenous woman, and you’ve said “Having this identity—radical indigenous queer feminist—keeps me going.” You’ve also said how important it is for you to use your platform to elevate other voices in a music space that still is predominately male and predominately white, which I think is great and very much needed. What are some actions that you would you like to see from maybe venues or other artists moving forward to also help elevate these voices that are still seen as the “minority?”

One thing that really annoys me is when white indie rock musicians just don’t realize the importance of people of color. I think that more people need to be lifting up indigenous voices and queer voices if they don’t identify that way-- if they’re like cis, white, heteronormative people, I think that’s really important. It’s something that should be done a lot more. However you can… in the most respectful way of course. One person who is actually on my label, who I really respect and who I consider an awesome ally and accomplice is Elizabeth from Land of Talk. She is constantly in support of indigenous people and is showing that on social media and at her shows. She’s the kind of person where I feel like white people can learn by example. They can see her and see what sort of things they need to do. I don’t know…pay us more money too I guess!

Totally, just being more aware. I think that there are definitely some people that would want to help and be an ally, but they might not be sure how to take the first step, so giving that example of Elizabeth is a great start.

I mean also, first and foremost, just educate yourself. Like if you don’t know any people of color musicians or queer musicians, get on that and support that. And help uplift those voices if you have a certain platform, and if you see somebody that is doing an amazing job at whatever, just help raise that up.

Yeah keep sharing and supporting. Wrapping up then, you’re currently on tour with Julia Jacklin, who is also great! There’s a lot of sold out shows on this run and I’m excited for the Chicago show. What can we expect as far as your live set up? Will there be any new songs?

Yeah so tonight is our first show with Julia Jacklin, and I am so excited! I’m very excited to meet her and her band and to embark on this really long tour together. We are gonna be playing a couple new songs. “Loss & Relax” will be on the setlist, then we have another song called “Half Colored Hair” that’s the b-side of the 7-inch. We’re incorporating that into the set as well. Then for this tour, I have a 4-piece band, we have two guitarists and a bass and drums, so it will sound a lot more full. I’m really excited about that.

Black Belt Eagle Scout’s show with Julia Jacklin at Schubas on May 8th is sold out— but check out the rest of the tour dates here.

Keep up with Black Belt Eagle Scout on Facebook // Twitter // Instagram and tune into Mother of My Children below!

A Chat With Twinsmith

Omaha-based indie rock band Twinsmith return with stripped back and chilled out tunes for their third record, Stay Cool, out next month. Singles like "Matters" and "You & I" boost infectious and mellow melodies, perfect for driving around with the windows down on a summer day. Originally formed by the duo Matt Regner and Jordan Smith, the band has grown to include Bill Sharp on the bass and drummer Jake Newbold while on tour. Last Thursday, Twinsmith played Chicago as the third show of the Ultrasonic Summer Tour with Rooney and Run River North, following a hometown gig in Omaha. Before they hit the stage at Lincoln Hall, we caught up with the guys to talk about their simplified recording process, Jason Derulo, and Red Roof Inns...among other things. Get to know Twinsmith now! 

Twinsmith at Lincoln Hall on June 22nd, 2017  Left to Right: Jake Newbold, Matt Regner, Bill Sharp, and Jordan Smith.

Twinsmith at Lincoln Hall on June 22nd, 2017

Left to Right: Jake Newbold, Matt Regner, Bill Sharp, and Jordan Smith.

ANCHR Magazine: Your single “You & I” just came out this week. How does it feel to get your new music out there in advance of the new record?

Matt Regner: It’s always great. Especially in this day and age where that whole process takes forever. Especially if you’re pressing vinyl. Basically you finish the recording, you finish mastering, then you’re just hanging out with the songs by yourself for a few months.

Jordan Smith: Yeah, it definitely feels good. It feels good to play new songs. That’s what we’re most excited for. We were rehearsing these songs as a band. We’d written and recorded them before we started playing them live. So the whole process was just like a long process of being able to start playing these. We’re excited to keep releasing music and keep writing.

AM: How was the recording process for this album then, compared to your past records?

MR: It was awesome. Basically that whole album came together in our house. We recorded it in our dining room. We didn’t really need--for all of these songs we didn’t need a big studio. We didn’t spend a ton of money. We could just find some cool gear and make it happen. Having complete control over everything and not like five people running around the studio, doing this and that, you start forgetting names. It was just for the most part Jordan and I, and then Graham Ulicny who produced it, showing up at 11 a.m. and working. 

AM: So for the first two records, was it similar or you did actually record those in a studio?

MR: Yeah, in the studio you’re just rushed. So we weren’t on a time crunch with this. That’s when you start making mistakes.

AM: I think that comes across in the mood when you’re listening to the new record.

MR: There’s definitely more of a relaxed mood with this album. Maybe that goes back to the actual process, or our moods when we wrote the songs. Not having that studio rush, or worrying about the money, like the hours that you’re putting in…

AM: So I know tour just started a couple nights ago, but how have the new songs been going in the live setting so far?

MR: Great. There’s still just enough rust on them. They’re always fun to play, and we’re still making mistakes on them--

JS: But that’s good! I’d rather have that than be really bored. 

MR: The Alligator [Years] album, we played those songs 100 times over the course of a year. You get burnt out on that. I don’t know how The Rolling Stones do it.

JS: They get millions of dollars.

MR: I’d play “Start Me Up” that much for a million dollars.

AM: What have been some of your favorite new ones then?

JS: I think “Defend Yourself”--

MR: Which actually, we planned on having it as a single, but we didn’t release it. I think that’s just the most fun to play live. It’s a fun groove. We always play it towards the end of the set.

AM: So you guys just had the hometown gig in Omaha last night, but is there anywhere else you’re really looking forward to playing?

JS: I’m interested to see what Davenport is gonna be like, cause I’ve never played in Davenport. I think we’ve played everywhere else. 7th Street Entry’s always fun.

AM: So you guys made a Spotify Playlist that for "songs to crack open a cold one to”--

MR: That’s all Bill!

AM: Then there was the “Stay Cool” one, which had all songs with “Stay” or “Cool” in the title, so how do you guys decide who gets the aux cord on the road?

MR: I’m the only one with a Spotify Premium account, but I have that damn new iPhone that doesn’t have the thing, and the van doesn’t have bluetooth. We’re not there yet as a band.

JS: We were there last week, but now we had to downgrade. Last tour, we listened to a podcast that was like 8 hours long when we drove from Chicago to Omaha.

MR: We listened to the entirety of S-Town. It was mind-blowing.

JS: We wanted the drive to be longer cause there was an episode and a half we still hadn’t listened to . That was the first time ever we were like “man I wish this drive was longer!” For the first five hours today, I don’t think we played a single thing.

MR: We usually just scan for a Top 40 radio station and keep it on a low volume.

JS: Unless it’s Jason Derulo.

MR: Derulo comes up! Everything else stays low.

AM: Do you guys tend to write while you’re on the road?

JS: You were writing [to Jake]--

Jake Newbold:  It was a grocery list.

MR: He does all his grocery shopping in Chicago. 

AM: Any other new bands you’re really into at the moment? 

JS: We were talking about Kevin Morby on the way up here.

MR: He’s got a really good new album.

JS: Jake knows what’s hot!

JN: I’ve been listening to Chris Weisman.Tigerwine just put out a new record.

AM: Nice! So was there anyone you pinpointed as influences for the record?

MR: Not super specifically. Actually, yes, super specifically in the sense that there’d be one part in a song where I’d try to get behind the mindset of the guitar licks. Like “what were they thinking when they wrote that?” But there wasn’t like one band you could put an umbrella over the album. Which is definitely a good thing. You never want that to happen. I think all of us, for as long as we’ve been in the band, or been in bands period, we just all listen to stuff that isn’t anything like our music.

AM: Then you can pick up on the moods or certain emotions, or even like you said certain guitar pickings and stylize that to your own music.

MR: Yeah, totally.

AM: Cool, anything else this year you’re really looking forward to besides this tour and the album coming out? Anything planned for the fall?

JS: I think we’re looking forward to kind of just seeing what’s next. We’re just seeing what happens, and I think we’re ready for whatever.

AM: Maybe some bluetooth in the van?

JS: Yeah, get back to that! That’d be awesome.

AM: Oh and did you get a week of free rooms at Red Roof Inn that you Tweeted about? 

MR: That was all [Jordan]

JS: I tried! 

MR: We're big fans of Red Roof Inns.

JS: We stay there a lot.

AM: Any last minute words of advice?

MR: Don’t use Apple Maps to get through Chicago. We just figured that out today. It wasn’t lost, it was just using all these alternate routes. We basically got off the highway in Iowa and took side streets.

So, Red Roof Inn, if you’re reading this, help a band out! Everyone else, help yourself out and pre-order Stay Cool here, out July 14th on Saddle Creek records. You can check out  Twinsmith's upcoming tour dates here, and see the gallery from their show at Lincoln Hall below!