Greetings fiends and ghouls! If you missed Part One of my interview with Argyle Goolsby you can find that here!
Read on for the second part of the interview conducted on June 15th before the Argyle Goolsby And The Roving Midnight show in Toronto, Ontario! And click here to get Darken Your Doorstep in digital and click here to grab a physical copy!
The Deadhouse: The Hollow Bodies is now becoming more of a regular occurrence. I know you guys got some dates coming up. Are there any plans to do a Hollow Bodies album?
Argyle Goolsby: Yes.
The Deadhouse: Now is it gonna be a studio album or more like a live album?
Argyle Goolsby: It’s gonna be a studio recording. It’s something I’ve wanted to do since Blitzkid, that’s where the whole Hollow Bodies thing came from.
The Deadhouse: I remember there was the Hollow Bodies release, that was way back.
Argyle Goolsby: Yeah, it was like 2002 or 2003. We were between drummers. That’s how the whole thing started, we had some shows coming up. We didn’t want to cancel them, so we were like why don’t we just play acoustically. And we had never even considered anything like that. For me, if you’re gonna play acoustically you shouldn’t just sit and play power chords. It’s boring to me.
The Deadhouse: A lot of Blitzkid, and even the solo songs, they lend themselves well to the acoustic rendition, and you wouldn’t always think that with some of the songs.
Argyle Goolsby: That’s what we strive to do. We’ll play some Blitzkid songs. The last show we did we played “These Walls.” And if you hear “These Walls” in Hollow Bodies we’re playing full-on arrpegiated chords man, like sweeps. We’re not just playing, we’re not just strumming the same tempo, the same power chord. We really kind of rewrite the songs in a way. So that’s the plan. Chris, the old Blitzkid drummer.
The Deadhouse: Chris White?
Argyle Goolsby: Yeah, he’s one of my oldest friends. And he’s always been involved with Blitzkid in some way, shape or form. Even with demoing process, and even with this band, The Roving Midnight, and everything on Darken Your Doorstep, he and I fleshed out.
The Deadhouse: Yeah, there was the videos of you guys doing “Spiders And Flies” and “Genus Unknown.”
Argyle Goolsby: Yeah, we were from the same town. It’s a little different now because I don’t live right down the street from him but for this album at least, everything on Darken Your Doorstep, I just went over to his house and demoed it all. I could do it at home and I could put it on Easy Drummer or something like that, which has its place. But I got a friend who I’ve been playing drums with for almost 20 years right down the street. So I would go down and work with him because it’s easier for me to write songs with people, instead of sitting around with myself and software all day long. That’s how Hollow Bodies, it’s something we’ve wanted to do for a long time. And then the whole Mothman show. The reason it happened at the Mothman Festival was we wanted to play that festival for a while and it just so happened that that weekend we were free so let’s do it then. And we’re gonna do it again this year at the same festival. Kind of like a tradition almost. But I want to take it out on the road too.
The Deadhouse: So like a full-on tour?
Argyle Goolsby: Yeah, kinda like what we’re doing now.
The Deadhouse: That would be awesome. I would fucking die to see that.
Argyle Goolsby: (laughing) Thanks man.
The Deadhouse: Since the advent with BandCamp and digital music services blowing up, the scene has really taken off in the past couple of years. Not saying it’s huge or anything but it seems like its growing at a relatively decent pace. And it has gotten larger with a lot of bands popping up. You’ve been there, not the beginning, but since 1997. What has it been like for you to see the scene grow and do you feel like you’ve had, without being egotistical, an impact on the scene?
Argyle Goolsby: Well you know, I don’t go around thinking that but I hope that I have. And when you say “man, you’ve had a huge impact on what I do” that makes me feel like I have, but in a humbling way. Not like “damn right!” but it is what I hope for. As far as how it’s changed, I don’t know how I’ve seen it go. It’s weird, like, the world is different now than it was in 1997 you know? It’s not just music, the way things were done when we started, you just don’t do things that way anymore. We would just drive for eight hours without GPS to go to a place where we heard we were playing, we weren’t even sure we were playing! Like “I heard you were playing” I guess we better go! That’s how we did things man. We didn’t have places to stay, we’re gonna do the same thing tonight. We’re gonna ask for a place to stay and we might end up meeting someone who becomes our best friend 10 years from now. We’re a clown car, there’s eight of us right now (laughs).
The Deadhouse: I have the bootleg from one of the last shows that Blitzkid played in the US where you guys played “Sapsucker Sluggo.”
Argyle Goolsby: Oh yeah, Zoinks!
The Deadhouse: And I discovered Zoinks through that, and they’re fucking awesome! I remember, I still listen to that specific live cover and the intro you do is hilarious with it.
Argyle Goolsby: I don’t remember, what did we do?
The Deadhouse: You talked about driving around listening to cassette tapes and how you found that cassette in a different dimension, because nobody, anywhere has heard of Zoinks. And now you wouldn’t have a situation like that because everything is everywhere.
Argyle Goolsby: You can push a button and the whole world is at your fingertips. Which is cool and has its place. For me, I didn’t know how to sing or anything like that, it just happened. Because all I did was ride around listening to cassette tapes in my town, there was nothing to do. So I would just ride around and just sing these songs. If you wanted to find out about a band you had to really search for. Zoinks was one of those bands, I didn’t sit down and think I want to listen to this band or this band. There was a window of time I would say between ’96 and ’98 where I ended up listening to a lot of music that ended up influencing me and my songwriting in Blitzkid. But not intentionally, I never knew how to play any instrument before Blitzkid. So I was just riding around listening to punk rock, cassette tapes and mix tapes for years, then the opportunity for Blitzkid came along. I had to start writing bass lines, so these are the tapes I have, these are the bands I listen to. A lot of people, if you listen to old Zoinks or anything like that, Face To Face, you’ll hear a lot of that in Blitzkid for that reason. It’s real subtle. If you listen to Apparitional everybody was like, “Apparitional is so weird, it’s like 90s punk” and I’m thinking “yeah, cause that’s all we listened to!” When we started Blitzkid it wasn’t like “we wanna sound like the Misfits” it was like The Queers and Screeching Weasel and Face To Face and Zoinks and all these bands. The horrorpunk thing happened as a fluke. We had “Slaughter At The Sock Hop” and it was fun, and we really got into it and it just felt right and we found our groove. But we never lost that, we never fully signed up to that affiliation. We never abandoned anything.
The Deadhouse: Just evolved.
Argyle Goolsby: Yeah man, we took it in stride. And just made it all something else.
The Deadhouse: So where do you see Goolsby, and The Roving Midnight, The Hollow Bodies. What’s next? Darken Your Doorstep hits next week. Lots of touring?
Argyle Goolsby: Touring. A lot of promotion. I’ve been writing a lot too. That’s the thing, I’m never not writing. Not everything I write becomes a song. I think that’s a mistake a lot of bands will make, like “I have 800 songs!”… yeah, and 12 of them are good (laughs). I just gotta work on them next. I have a lot of material. I think Darken Your Doorstep really is stepping back, in terms of sound. I was really able to revisit all those old influences and kind of spring forward from that into all my other influences, bringing those along with me. The music I’m writing now, like I said earlier, is more of a combination of whats on Darken Your Doorstep and the older stuff. I’m more comfortable with that now. I’m so used to writing a certain way in Blitzkid. Not to say it was restrained but we had a sound and had to stay true to that. And I think that’s still true in the Roving Midnight but it’s a little more broad.
The Deadhouse: A little more freedom for you as an artist.
Argyle Goolsby: Yeah, yeah. The tempos are a lot different from time to time. And what we do in this band. When we used to play in Blitzkid we’d play for 2 hours we could play like 38-40 songs. So the big difference now is in an hour setlist we will play like 12 songs which is different. But yeah, I’m just gonna keep plugging away man, this is what I do and I just love it. It’s a journey. I don’t know what it’s gonna sound like or what it’s gonna look like or how its gonna come across but I’ll still be doing it.
The Deadhouse: Awesome. Well, thank you again for taking the time to do this and talk with me.
Argyle Goolsby: Of course!