Thanks so much to Skippy for the interview! I wrote about his band The Autumn Teen Sound on the blog some weeks ago and was happy to get in touch with him. The band released just a 7″ and appeared on a few compilations but it is also worth noting that Skippy used to run the very good pop label March Records! So we talk a bit about that (hoping to interview him later on about the label) but mostly about his band!
++ Hi Skippy! Thanks so much for being up for this interview! How are you? Are you all still in touch? Still making or releasing music?
Who is all? I keep in touch with so many people from the 90s March Records scene, but I’m not really releasing music. The whole AUTUMN TEEN SOUND thing was just me goofing around with my home studio.
++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen at home while growing up?
I remember my father putting huge 70s headphones on my head to listen to Roundabout by Yes. I learned piano early, we had one in the house and I often got bored and just taught myself. I listen to mainly 45s I’d pick up from the Bradlees. Anything Top 40. Gilbert O’Sullivan, Sweet, Seals & Crofts…
++ Was The Autumn Teen Sound your first band or had you been in other bands before that? What about the rest of the members? If so, how did all of these bands sound like? Are there any recordings?
I was in bands in high school, mostly cover bands, but I got into the music business when I was 18 and forgot about creating music until 10 years later when I started messing around with all the instruments I’d accumulated. Oh, when I played The Autumn Teen Sound live, maybe 2 or 3 times, I recruited a band I had put on Pop American Style called Igloo. They moved in next door to me in Chicago and helped me pull off shows at Lounge Ax and Empty Bottle. They were great, me not so much.
++ Where were you from originally?
The Jersey Shore but I lived in Chicago in summers and after high school.
++ How was your city at the time? Were there any bands that you liked? What were the good record stores? Or what about the pubs or venues to go check out up and coming bands?
In high school I got addicted to WHTG, a local radio station that maybe reached a 40 mile radius. I loved local bands like Spiral Jetty and Private Sector and The Feelies and Screaming For Emily. All totally different, but local nonetheless. I would go to City Gardens in Trenton or the Green Parrot in Neptune almost every weekend. I was often the sole winner of the free tickets that WHTG would give away and those were for shows up at the Ritz in NYC, etc. I would say I spent the majority of my last year or two of high school in NYC, Hoboken, New Brunswick, there wasn’t anything going on in my hometown.
++ When and how did the band start? Was it a one man band? What about when playing live?
I just started writing and recording songs in my basement in Chicago in the 90s as a goof. I was releasing records on my label and at night, I would either go see bands or stay home and record. I only used what I already had. No guitars, maybe a real bass sometimes. Mostly Casios, Farfisas, Moogs, weird off brand string machines. It was just fun to discover what everything could do and to see if I could actually document what I was doing.
++ What’s the story behind the name The Autumn Teen Sound?
I saw it printed somewhere, some old magazine, maybe it was part of a 60s psych scene or something. I just liked the way it sounded, I didn’t think about it too much.
++ What about the name you used for the band members, Lord Butterscotch, Queen Josephine, Leo Con Brio and DJ French Toast? Where do these names come from?
THAT part was very intentional. Since I knew this was a one man band situation, I referenced the Silicon Teens’ Music For Parties LP. I wanted to hide behind a fake band so I just conjured some characters out of thin air. The funny part is that I still use DJ French Toast sometimes when I spin records at clubs.
++ How was the creative process for you? Where did you usually practice?
I felt like I was really growing as a songwriter, the more I put myself into it. But, like I said, I had a 70 hour a week job, sometimes March, sometimes other labels concurrently. It was hard to find the time, it came in spurts. Practice? Hahahahaha.
++ You were around in the late 90s in the US and there was an ebullient scene of pop bands and labels. Why do you think that happened at that time? Did you feel part of a scene?
I think was happening way before I started my label in 1992 and I think there were labels that were much better at cultivating a scene. I adopted Cuddlecore after I heard Cub reference it, but to be honest, it was selling some of the bands on March short. Pee wasn’t cuddlecore, whatever that was. It was ambiguous, but it’s like twee, people tend to have opinions before they’ve heard the music. Even though it was a struggle, I look back on those days with fondness. I didn’t know I was part of any scene until much later when the label was sunsetting. It was a glorious time and I cherish the friendships I made even though no one made a great career out of it.
++ And who would you say were influences in the sound of the band?
Mostly I used whatever I had, so Casio maybe, ha! In the beginning, I was actually covering Holiday, a band that I released on March. There was a 2CD set that the members of an indiepop list had all contributed to, regardless of musical talent. It gave me license to maybe put a song into the world without harsh judgment, the indiepop listers were fairly passionate and accepting people. Other than that, when I was creating music, I often was subliminally referencing A Broken Frame-era Depeche Mode, Silicon Teens, OMD, etc.
++ Aside from the band you were also involved running March Records, which would be a fantastic interview too if you are interested. Was wondering if you were to say how much time did you give the label and the band, what percents would that be?
99.5% March, .5% ATS. I ran that label for the better part of 12 years and tried my best to pull off some miracles, but in the end, it wasn’t meant to be. We never had that big Arcade Fire type break out that would sustain any employees or anything.
++ And how come you didn’t release yourself on your label?
I don’t like myself 🙂
++ Your only release came out on the Paris Caramel label. I have most of their releases but I must say I don’t know much about this label. Who were behind this label? How did you end up working with them? And how was your relationship?
This was Mario from Ciao Bella (a band I put out) and a friend named Mark, all pals from Oakland. They released an amazing Bart Davenport album. I remixed a Ciao Bella song for the album they released with me and after that I likely sent them some demos which they released as a 45. Bonkers really, who puts their money where their mouth is? You asked if I didn’t release myself on the label, but I sang on the Holiday record, remixed Ciao Bella, remixed Barcelona and I played live in Takako Minekawa’s band and Club 8, so there’s that!
++ This 7″ included a Poison cover on the B side. That must have surprised many popkids I suppose. Any particular reason you chose to include “Talk Dirty To Me”? Did you use to do other covers? Well, you did OMD in a Shelflife tribute compilation, right?
In hindsight, I would’ve picked something way more metal, but I thought it was appropriate. It’s bubblegum and silly, which I thought ATS was. I think I had a version of 18 & Life by Skid Row worked up, but this one ended up being so easy. Yeah, I think there’s an OMD cover out there. I didn’t release a version of “Shoe In” by Secret Stars and “Sight Of You” by Pale Saints, I guess I just loved those songs SO much that I didn’t have the nerve, even if the recordings came out kinda sweet. Oh, there was “Permission Slip” by Holiday which ended up being the first thing I ever let people hear I think.
++ There are also a few compilation appearances, “Seven Summers international Pop Volume 2”, “Pop American Style” (Japanese version), “Christmas in Stereo”, “Millefeille” and more. Did being in a label help people contact you? Or were they well aware of your band and requested songs?
I never really told people about ATS, they just already knew and some of the labels would just ask for a song, sight unseen(heard). I guess that was the way back then. We didn’t over A&R anything, we just accepted demos from our friends and released them. Some of those songs, I cringe, but….it was fun. Paris Caramel ended up doing a 4 song seasonal CD sampler and I wrote a ‘winter’ song, which I think I’m the most proud of. Sprites ended up covering it on one of their records which I thought was so fucking super cool.
++ What about the compilation “Dreams are Free (With Purchase)”? I have no clue whatsoever about the label Dark Beloved Cloud, who were they?
Douglas Wolk, the illustrious music writer. He put out a bunch of cool stuff in the 90s.
++ There is a compilation I’ve always been curious about, one you put together within the indiepop-list, “The Family Twee” compilation. Your band appears here too. I hope to listen to it in its entirety one day. How many copies did you make? And how long did it take to put together? What are your favourite songs on it?
From what I remember, everyone was asked if they wanted to contribute a song and if so, throw like $40 at the pot so we can press up the minimum (1000 CDs)? CDs were super expensive back then and I remember it being a bit of a fiasco because I was chasing down half the bands to actually pay. If PayPal had existed, man, that would’ve been great. I think it took over a year, members of that list were located EVERYWHERE around the world. Indonesia, Sweden! I think we finally pulled it off, but I don’t remember it being a fun project. What looks good on paper…. that said, I met my girlfriend through doing that thing, so that was nice side effect.
++ Do tell me a bit about The Tiger Trap studio. You mostly recorded there. How were these recording sessions?
I think that’s what I called my room in Hastings On Hudson. I used an old DMT8 for ALL the ATS recordings. I had no idea what I was doing to be honest and didn’t have a lot of outboard effects or anything.
++ It is hard for me to pick a favourite song but I really like “Say Something”, was wondering if you could tell me the story behind this song?
I think it was about an ex who didn’t really know how to tell me things until it was too late. I think it’s probably a common thing in relationships, one person or the other isn’t communicating for whatever reason or another. You have to change and/or say something otherwise it all stays the same, doesn’t it?
++ If you were to choose your favourite Autumn Teen Sound song, which one would that be and why?
Winter Coat. I just felt like it was the most mature version of ATS and likely the last song I recorded.
++ What about gigs? Did you play many? You played a Popfest, right?
Maybe 2 or 3 in Chicago and yeah just that one in Athens. I had the Howard Jones thing going. Everything was tracked except a Moog and a Casio and vocals. Oh man. Olivia Tremor Control and Neutral Milk Hotel were on those shows I think. What was I thinking??!
++ When and why did The Autumn Teen Sound stop making music? Were you involved in any other bands afterwards?
I just didn’t have the time. After the label folded around 2002-2003, I didn’t know what to do. I opened a bar/music venue in Park Slope, Brooklyn which ended up being my calling really. The only band I’ve played in over the last 15 years was a cover band for my daughter’s parent-teacher talent show recently. I played bass on Surrender by Cheap Trick.
++ What about the rest of the band, had they been in other bands afterwards?
I’d love to know what Igloo are up to. Scott & Jenny. They were super nice.
++ Has there ever been a reunion? Or talks of playing again together?
I can truly say that won’t happen. There’s a better chance of getting me to sing karaoke.
++ Did you get much attention from the radio?
Wow, I really wouldn’t know, I don’t remember any radio play, but I imagine college radio?!
++ What about the press? Did they give you any attention?
I think there was a review or two on the Paris Caramel 7″. It’s hard to know because the internet wasn’t a thing in 1998 and it seems like the indie 90s have long disappeared from the radar.
++ Looking back in retrospective, what would you say was the biggest highlight for the band?
I think just being able to get ON a vinyl record was cool. I wouldn’t have done it for myself, so it was nice that other people were interested. There was a cool 7″ compilation of 4 bands on Motorway in Japan that I was on, that was cool.
++ Aside from music, what other hobbies do you have?
Currently, I’m plotting a ski trip, a trip to see my beloved Chicago Cubs, finishing a pool, and helping my kids with their homework 🙂
++ Anything else you’d like to add?
I can’t believe anyone knows about the Autumn Teen Sound!
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