MASCARA DE CERA

There are people who are born to make music, others are born to hearing.
Whenever was part of this second group.
I'm just an addict... addicted to music.
Maybe it's a habit, I gotta use, even if it's, rock, jazz or the quiet storm.
Gosto mais de música que de lasanha.

THE RESIDENTS is my Biggest Addiction.
Other musical priorities are:
OLD TIME RELIJUN-ARRINGTON de DIONYSO, R. STEVIE MOORE, THE RED KRAYOLA,SHRIMP BOAT, SMEGMA,THE FIBONACCIS, THE SUN CITY GIRLS, LEGENDARY PINK DOTS, ESKIMO, SLINT, FRANK ZAPPA, CAPTAIN BEEFHEART, THE VELVET UNDERGROUND, HENRY FLYNT, PATTI SMITH, THE FEELIES, PERE UBU, THE CLASH, JOY DIVISION, SNAKEFINGER, MILES DAVIS, SUN RA, KRAFTWERK, ANAL MAGIC & REV. DWIGHT FRIZZELL, MOONDOG, THE WORK, RAYMOND SCOTT, SLAPPY, HAPPY, ART BEARS, NAKED CITY, HENRY COW, BONGWATER, SHELLAC, BLURT, GLAXO BABIES, WEEN, THIS HEAT, THE SEA AND CAKE, SAVAGE REPUBLIC, TUXEDO MOON, XTC, CAN, FAUST, THINKING FELLERS UNION LOCAL 282,THE EX, DANIEL SMITH- DANIELSON FAMILE,TOMAHWAK, FANTOMAS, MR. BUNGLE, MIKE PATTON, SUICIDE, THE GO-BETWEENS, STEREOLAB, SPACEMEN 3, CHROME, PRIMUS -LES CLAYPOOL, PRAM, BEACH HOUSE, THE OLIVIA TREMOR CONTROL, SWELL MAPS, SILVER APPES, MORPHINE, TELEVISION, DEVO, FLYING LIZARDS, THE POP GROUP, MINUTEMEN, MISSION OF BURMA, FUGAZI, WOVEN HAND- 16 HORSEPOWER- DAVID EUGENE EDWARDS, CHAD VANGAALEN, CRIME CITY SOLUTION, DAMIEN JURADO, DAVID DONDERO, CHELSEA WOLFE,THE BOOK OF KNOTS, FUGS, PEARLS BEFORE SWINE-TOM RAP, UNITED STATES OF AMERICA-JOSEPH BYRD, FAMILY, GODZ, BONZO DOG DOO DAH BAND,PENTANGLE,SLOVENLY, CHEER-ACCIDENT, SHOCKABILLY, EUGENE CHADBOURNE, BUTHOLE SURFERS, VAMPIRE RODENTS,TARWATER, COIL, THROBBING GRISTLE, SWELL, KEVIN COYNE, DAEVID ALLEN, ZOOGZ RIFT, SLEEPYTIME GORILLA MUSEUM, MX-80 SOUND, PAPA M, STUMP, RENALDO AND LOAF, THE BOOKS, NEW THRILL PARADE, NEW WET KOJAK, DAVID KILGOUR, LOW, VIC CHESNUTT, JOE HENRY, ALEJANDRO ESCOVEDO, JON WAYNE,THE TAPE BEATLES, THE GUN CLUB, MAKE-UP,THE DENGUE FEVER, THE PAPER CHASE, RED RED MEAT, KARL BLACK- SOCK HEADDED PETERS- LEMON KITTENS, THE MUSIC TAPES, 17 PYGMIES, THE SHAGGS, BOBB TRIMBLE, ALTERNATIVE TV, FISH AND ROSES, DIABLO SWING ORCHESTRA, POP D`ELL ARTE, MLER IF DADA,TOM ZÉ, WALTER FRANCO, OS MUTANTES, CAETANO VELOSO, MILTON NASCIMENTO, ARNALDO ANTUNES, VINICIUS CANTUARIA, CAZUZA, CEREBRO ELECTRONICO, CORDEL DE FOGO ENCANTADO, ROGERIO SKYLAB, MUNDO LIVRE SA, NAÇÃO ZUMBI, ALÇEU VALENÇA, ANT- BEE, JOHN WILKES BOOZE, BILL FAY, WOVEN HAND, EL GUAPO, DAVID GRUBS, TORTOISE, SAM PREKOP, LUNGFISH, MAN MAN, LYDIA LUNCH, MARK KRAMER,THE FIERY FURNACES, HENRY KAISER, HOME & GARDEN, LOUNGE LIZARDS, JOHN LURIE, ANTON FIER- GOLDEN PALOMINOS, BOB DRAKE, MY DEAD IS DEAD, MICHAEL YONKERS, MINIMAL COMPACT, AKRON FAMILY, SWANS, THESE IMMORTAL SOULS, UNREST WORK & PLAY, THE TAPE BEATLES, SWOLLEN MONKEYS (Ralph Carney), SHELLEY HIRSCH, NEW YORK GONG, GONG, WALL OF VOODOO, LIARS, TIM HUEY, TOM WAITS, TRACHTENBURG FAMILY, THE TRIFFIDS, THE CRUEL SEA, THE MEKONS, THE METOD ACTORS, THE MISTAKES, THE MOUNTAIN GOATS, THE NEW CREATION, THE PIN GROUP, THE RENDERS, BRUCE HAACK, LOREN MAZZACANE CONNORS, GLEN BRANCA, ALBERT MARCOEUR, LOS ANGELES FREE MUSIC SOCIETY, THE POLYPHONIC SPREE, MICROPHONES, GARY WAR, RAILROAD JERK, MODERN LOVERS, LOVE, HAWKWIND, RAIN PARADE, RALPH CARNEY, ROBERT WYATT, LUCIA PAMELA, RON SEXSMITH, ROWLAND S. HOWARD, SAFETY SCISSORS, RICHARD HELL & VOIDOIDS, SACCHARINE TRUST,THE NOTWIST,QUICKSPACE, ROY MONTGOMERY, THE CLEAN, THE BATS, RUN ON, LOVELY LITTLE GIRLS, LONG FIN KILLIE, SAFETY SCISSORS, BRIDE OF NO NO, TONE DOGS, TREAT HER RIGHT, TRIPOD JIMMIE, LIFTER PULLER, THEY MIGHT BY GIANTS, GANG OF FOUR, SOUL COUGHING- MIKE DOUGHTY, MAZARIN, KARATE- GEOFF FARINA, SECRET STARS, THE CHURCH, BLANK DOGS, FROG EYES, JOAN OF ARC, BLACKOUT BEACH, DIRTY BEACHES, PURE X, MAGIC TRICK-TIN COHEN, CHRIS COHEN, DAVID BAZAN, YUNG WU, WAKE OOLOO, DRIVE BY TRUCKERS, CAMPER VAN BEETHOVEN, U.S, MAPLE, MARTIN NEWELL, ERLAND and The CARNIVAL, CRIPPLED BLACK PHOENIX, CALIFONE, THE BLACK HEART PROCESSION, CLOUD CULT, EZRA FURMAN and THE HARPOONS, EFF BARZELAY, BORN RUFIANS, FERGUS & GERONIMO, CHAIN AND THE GANG - Ian Svenonius- WEIRD WAR,- THE MAKE UP, MOONFACE, THREE MILE PILOT, LIFE WITHOUT BUILDINGS, PINBACK, MAGIC HOUR, MAJOR STARS, MAPS & ATLASES, MEGAFAUN, MENOMENA, TAME IMPALA, AMPS FOR CHRIST, ARBOURETUM, TRUE WIDOW, NANA GRIZOL,TIMBER TIMBRE,THE IMPOSSIBLE SHAPES, THE LOVE EVERYTHING,THE MAE SHI, DEAD SKELETONS, THE SHIPPING NEWS, LES SAVY FAV, SILKWORM, DIANOGAH, THE COMSAT ANGELS, GASTR DEL SOL, 31 KNOTS, 90 DAY MEN, ORANGE JUICE,
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David Pajo is one hell of a jack-of-all-trades guitarist. In the early ’90s, Pajo revolutionized minimalist post-punk sonics with the crucial Kentucky outfit Slint, helped birth the post-rock aesthetic in Tortoise, collabbed with ex-Slinters in loopy dance new wavers King Kong and palled around in projects with Will Oldham.Since then Pajo as experimented under a myriad of pseudonyms including, M, Aerial M and Papa M, weaving intrepid and singular six-string guitarplay into a folksy Americana and electronic noodlage deconstruction. Pajo has dove into old school metal with Dead Child, black metal with Evila, played in Zwan with Billy Corgan, cameoed with Interpol and the Yeah Yeah Yeahs, and revisited Slint. He’s now back in Papa M mode.Sound of the City caught Pajo via email to talk about his nonstop projects.It’s been a while since the last new Papa M album. Is there a new album in the works? Are you testing out new material live?I don’t have plans for a new album. Although, I’ll probably add some little doodads that no one’s heard before. Hopefully it will all tie together as some kind of experience.On Sunday at (le) Poisson Rouge, will you play solo or do you have a band?Matt Jencik [Don Cabellero; Slint 2007; Implodes] is playing bass and other textural things. It sounds surprisingly big and full with just the two of us; in the right venue, with the right audience, and the right P.A. system. If any of that is lacking in some way—KAPUT.What can we expect?Me and my music are pathologically quiet.You’ve collaborated with Will Oldham over the years and he’s gone under several different names, as you have been prone to do. as well. Was there ever a conversation between the two of you where you conspired to fuck with people’s heads and your label Drag City just for shits ‘n’ giggles?You know, I can’t recall ever talking about the different name changes. I would usually run a new name by him to get his take, that’s about it. I don’t think either of us did it to intentionally fuck with anyone.Which one of you thought of recording under the numerous names first? Did Will rip your idea off?Neither of us did it first, not really. A lot of those old blues guys put out records under slightly different names. John Cougar did that too. I can’t speak for Will but I always assumed he was “fine-tuning” his outward presence. Before Palace Brothers there was Palace Flophaus. For me, I just felt that a change in musical direction or philosophy constituted a new name. It was also a way to delineate time periods. I think Will probably felt that way too, to some extent.When you write a song, do you think to yourself “This is going to be under ‘PAJO’” or “This is going to be under ‘Papa M’”? What’s your rationale behind it?I usually write the songs first and then I’m stuck with trying to figure out how it should be presented. I wanted Papa M to become Papa M Sings—sometimes I wish I had done that. The band name is one of the last things I think about. If I recorded a bunch of tunes tomorrow, I’d have no idea what name it would be released as. I know the band name should probably matter to me but it really doesn’t at all.When Slint played those reunion shows a few years back, were you immediately into taking part in it or were you skeptical in any way about it just being a nostalgia act, given the fact that reunions have become so commonplace in recent years?I was skeptical of a lot of things. I wasn’t sure we could pull it off. There were so many potential scenarios where it could utterly fail and be pathetic. Looking back I think we did a respectable job, with the help of some great people. We were fairly detailed when it came to recreating that sound. For example, I used the same copper picks and the same brand strings that I used back when we recorded Spiderland. Same amps, pedals, pickups, etc. We were old friends getting back together, which was the most awesome part about the reunion. I don’t think any of us were nostalgic. I felt like I was just doing my duty.What were your thoughts on playing those songs again after all those years? Did you enjoy it?I really enjoyed it. It was so cool to look back on those songs with that much perspective. I would be happy not to play them again, but it was a definite joy to me.What did you originally bond over with your friends in Squirrel Bait and Slint?In addition to getting excited about the same music, I definitely bonded over our mischievous, delinquent humor.
What did you discover first in your formative years: punk rock or metal?
I was into metal when I was barely pubescent. My older brother was the punk / new wave guy. We got in fights over our taste in music; metal was for morons, punks couldn’t play their instruments!
Can you point to a particular metal album(s) or artists that inspired your trajectory towards the different metal genres you’ve been involved in?
I think it was Darkthrone and Ulver that tipped me over from traditional metal and death metal into straight up black metal. I like it all, really—there are very few genres of metal I dislike!
Speaking of metal, a few years ago you were in Dead Child and also played bass in Early Man. The sounds of those two bands can be construed somewhat as falling into a type of ‘hipster metal.’ niche. How did you see those two bands?
I hope Dead Child wasn’t hipster metal. But yeah, I can understand why people would say that. With Dead Child, we just wanted to be a heavy live band—that’s about it. I really loved Dead Child.
Is Dead Child no more?
The band was kind of fizzling out on its own. Then when our drummer, Tony Bailey, passed away, there was really no good reason to continue. Evila is metal but a completely different beast altogether.
Can you share any fond moments of being in a band with Billy Corgan?
Getting to hang out with Paz and Matt!
Do you regret being in Zwan? 
No way!!!
Will Zwan ever reunite?
I thought they did…?
You were a hired gun (for lack of a better term) for Interpol and the Yeah Yeah Yeahs. How was the time you spent on tour with those groups? Did it compare with being in Zwan?
It was so awesome, some of the best touring experiences of my life. It compared with Zwan only in terms of scale. The friendships I made…that made it a dream come true.
If offered, would you ever join Interpol or the Yeah Yeah Yeahs on a full-time basis, or would that hinder your time to work on your own material?
I would love something like that. That stuff doesn’t hinder me, it propagates my solo work. I’m unproductive without it.

David Pajo is one hell of a jack-of-all-trades guitarist. In the early ’90s, Pajo revolutionized minimalist post-punk sonics with the crucial Kentucky outfit Slint, helped birth the post-rock aesthetic in Tortoise, collabbed with ex-Slinters in loopy dance new wavers King Kong and palled around in projects with Will Oldham.

Since then Pajo as experimented under a myriad of pseudonyms including, M, Aerial M and Papa M, weaving intrepid and singular six-string guitarplay into a folksy Americana and electronic noodlage deconstruction. Pajo has dove into old school metal with Dead Child, black metal with Evila, played in Zwan with Billy Corgan, cameoed with Interpol and the Yeah Yeah Yeahs, and revisited Slint. He’s now back in Papa M mode.

Sound of the City caught Pajo via email to talk about his nonstop projects.

It’s been a while since the last new Papa M album. Is there a new album in the works? Are you testing out new material live?

I don’t have plans for a new album. Although, I’ll probably add some little doodads that no one’s heard before. Hopefully it will all tie together as some kind of experience.

On Sunday at (le) Poisson Rouge, will you play solo or do you have a band?

Matt Jencik [Don Cabellero; Slint 2007; Implodes] is playing bass and other textural things. It sounds surprisingly big and full with just the two of us; in the right venue, with the right audience, and the right P.A. system. If any of that is lacking in some way—KAPUT.

What can we expect?

Me and my music are pathologically quiet.

You’ve collaborated with Will Oldham over the years and he’s gone under several different names, as you have been prone to do. as well. Was there ever a conversation between the two of you where you conspired to fuck with people’s heads and your label Drag City just for shits ‘n’ giggles?

You know, I can’t recall ever talking about the different name changes. I would usually run a new name by him to get his take, that’s about it. I don’t think either of us did it to intentionally fuck with anyone.

Which one of you thought of recording under the numerous names first? Did Will rip your idea off?

Neither of us did it first, not really. A lot of those old blues guys put out records under slightly different names. John Cougar did that too. I can’t speak for Will but I always assumed he was “fine-tuning” his outward presence. Before Palace Brothers there was Palace Flophaus. For me, I just felt that a change in musical direction or philosophy constituted a new name. It was also a way to delineate time periods. I think Will probably felt that way too, to some extent.

When you write a song, do you think to yourself “This is going to be under ‘PAJO’” or “This is going to be under ‘Papa M’”? What’s your rationale behind it?

I usually write the songs first and then I’m stuck with trying to figure out how it should be presented. I wanted Papa M to become Papa M Sings—sometimes I wish I had done that. The band name is one of the last things I think about. If I recorded a bunch of tunes tomorrow, I’d have no idea what name it would be released as. I know the band name should probably matter to me but it really doesn’t at all.

When Slint played those reunion shows a few years back, were you immediately into taking part in it or were you skeptical in any way about it just being a nostalgia act, given the fact that reunions have become so commonplace in recent years?

I was skeptical of a lot of things. I wasn’t sure we could pull it off. There were so many potential scenarios where it could utterly fail and be pathetic. Looking back I think we did a respectable job, with the help of some great people. We were fairly detailed when it came to recreating that sound. For example, I used the same copper picks and the same brand strings that I used back when we recorded Spiderland. Same amps, pedals, pickups, etc. We were old friends getting back together, which was the most awesome part about the reunion. I don’t think any of us were nostalgic. I felt like I was just doing my duty.

What were your thoughts on playing those songs again after all those years? Did you enjoy it?

I really enjoyed it. It was so cool to look back on those songs with that much perspective. I would be happy not to play them again, but it was a definite joy to me.

What did you originally bond over with your friends in Squirrel Bait and Slint?

In addition to getting excited about the same music, I definitely bonded over our mischievous, delinquent humor.

What did you discover first in your formative years: punk rock or metal?

I was into metal when I was barely pubescent. My older brother was the punk / new wave guy. We got in fights over our taste in music; metal was for morons, punks couldn’t play their instruments!

Can you point to a particular metal album(s) or artists that inspired your trajectory towards the different metal genres you’ve been involved in?

I think it was Darkthrone and Ulver that tipped me over from traditional metal and death metal into straight up black metal. I like it all, really—there are very few genres of metal I dislike!

Speaking of metal, a few years ago you were in Dead Child and also played bass in Early Man. The sounds of those two bands can be construed somewhat as falling into a type of ‘hipster metal.’ niche. How did you see those two bands?

I hope Dead Child wasn’t hipster metal. But yeah, I can understand why people would say that. With Dead Child, we just wanted to be a heavy live band—that’s about it. I really loved Dead Child.

Is Dead Child no more?

The band was kind of fizzling out on its own. Then when our drummer, Tony Bailey, passed away, there was really no good reason to continue.
Evila is metal but a completely different beast altogether.

Can you share any fond moments of being in a band with Billy Corgan?

Getting to hang out with Paz and Matt!

Do you regret being in Zwan?

No way!!!

Will Zwan ever reunite?

I thought they did…?

You were a hired gun (for lack of a better term) for Interpol and the Yeah Yeah Yeahs. How was the time you spent on tour with those groups? Did it compare with being in Zwan?

It was so awesome, some of the best touring experiences of my life. It compared with Zwan only in terms of scale. The friendships I made…that made it a dream come true.

If offered, would you ever join Interpol or the Yeah Yeah Yeahs on a full-time basis, or would that hinder your time to work on your own material?

I would love something like that. That stuff doesn’t hinder me, it propagates my solo work. I’m unproductive without it.

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