Shannon Crawford started his band, Monster in the Machine, after a decade-long hiatus from releasing music. In the meantime, he's made a name for himself as a serious painter, cultivating a talent he discovered at an early age, and counts Lindsay Lohan and author Jerry Stahl amongst his celebrity clients. Monster in the Machine's album, Butterfly Pinned (out on Korn guitarist James Munky Shaffers Emotional Syphon Recordings), is an expression of the lessons Shannon has learned from his past successes and failures in life and in the music industry. Even the name of the band represents his conception of how society operates.
SuicideGirls talked to Shannon about the challenges of surviving and making art inside the machine.
Jay Hathaway: So this was the first album you've put out in a while. What's the hardest thing about getting back into being in a band? Shannon Crawford: The hardest thing is just dealing with the personalities of the business side. Whether I'm getting into it, been in it, getting ready to walk away from it, or whatever, it's usually the personalities of the people behind the curtain. With band members, there's drama from time to time, but it's of a different nature, and it's tolerable because they're artists. There's a lot of politics involved, and a lot of unnecessary stuff that goes on. JH: Is there less of that now than there was 10 years ago? SC: Yeah. Sometimes the dots aren't connected when a tour starts, and we're getting a lot of the bugs out, so to speak. That's the other hard part, too: getting back into the groove when you start a tour. But there are definitely a lot less hurdles to jump now, because it's independently run. JH: Is it strange being on tour and playing these songs live, after you'd been working on them by yourself for such a long time? SC: No, not at all. I love playing live. I really love creating the music, as I do playing it live, but they're totally different animals. It's like apples and oranges, but it just makes a wonderful fruit bowl, you know? [Laughs] I love playing it. I'm not one for playing to samples and stuff, so the live show does have a slightly different vibe than the record, because we're doing it organically. I'm not totally opposed to having some samples to make it more similar to the record, but I'm not one of those guys who's going to do some glorified karaoke. JH: I know you're a painter, and you've been doing that for a long time. I imagined you were the introspective artist-type you'd rather be off by yourself creating things. SC: That's a good point. It's hard to shift gears from lone painter to collaborating. That's why a good majority of this record was recorded by myself, although I'm also starting to work with others more. You have to go into a different mindset. I'm a creative person who's been spoiled by painting and not having to really rely on anybody, and rely on an expensive studio or electronics, a bass player, someone to mix it. I don't even need a canvas; I can just paint on anything I find. Because of the ease of not dealing with the personalities, it is hard to shift to gears. My best work is in my room, alone, just creating building tracks, writing songs, writing a foundation on the acoustic. I'm learning to work with others in a way that takes what I've done and makes it even better and more amazing. This next record -- although we're only on our second single for this one -- is going to be more collaborative, of course. I want it to grow and expand, and let go of some of that ego of self. JH: Have you been able to trust other people with your stuff more? The songs wrote you write are very personal. SC: I'm not like an Avril Lavigne or a Gwen Stefani, who just comes in, lays her tracks and bails. I can't personally do that. I'm still a bit of a control freak with a lot of that. [Laughs] But at this point, at least I don't have to do everything. When I was mixing this record at Henson, both Avril Lavigne and Gwen Stefani were in there from time to time. And I thought, "God, it must be nice to just come in, sing your tracks, lay your voice down and leave." It wouldn't be too bad, but I personally can't do that. JH: What advice would you give to your younger self? SC: I've learned now that if something is irritating, just shut up and listen. See what happens, and don't react too extremely. Of course, I still react, but I would have told myself to play the game. I would have told myself, "Check yourself into rehab, dipshit!" [Laughs] Although I haven't done this completely, I've learned to reduce the ego. If something didn't go my way, I just reacted to the extreme. I wouldn't have done that. JH: Do you have a reputation for that? What kind of impression do you think you leave on people who meet you? SC: When we were on the Team Sleep tour, Christy, who runs our label, said to Team Sleep's tour manager, Evie -- who just passed, by the way, and I'm very sad about that -- she said, "He's really high maintenance, so take it with a grain of salt." As long as things are done correctly, I'm usually not. I don't know what they were talking about! I'm really happy; I try to stay in the moment. When I play, I kick ass. I don't care what the conditions. We've barely made certain load-ins and certain shows, but we did it and we kicked ass. Judging from this last tour, my reputation -- and now our reputation as a band -- is really good. JH: Do you think you can balance writing intelligent lyrics that mean something and coming off as a total badass at the same time? SC: I started writing some music for a soundtrack/score for a friend of mine. His name is Josh Evans, and he's directing a movie called Los Angeles. I did some actual songs for the score, and my lyrics have really evolved, and become more meaningful and poetic. And the music feels even badder! I'm not one to come up with a catchphrase and write a song around that. That's just not my style. Then again, I could suffer for that, because we do live in a catchphrase society. But for me, personally, I have found a balance of being able to write good lyrics and make it badass. Fuck yeah! [Laughs] JH: What do you want to do in the future of Monster in the Machine? SC: I'm hoping to put out a couple more records, no matter how it turns out. And if it turns out even remotely well, just continue making them. If I feel like writing music with a different vibe, just put out something with different players and call that something else, but continue with Monster in the Machine. The name of the band is meaningful to me. A lot of people ask me, "Are you a heavy metal band? It sounds heavy metal." Well, it's not. The machine is everything our pure souls battle on a daily basis, the military-industrial complex, the war machine. There are those like myself who complain about it, but we keep that machine going. We are the monster, with our need to watch stupid television shows and medicate ourselves and eat poorly, not exercise, not meditate, whatever it takes. The monster, from the machine's point of view, is someone who does see it for what it is, and does comprehend the lies of that machine. So that's a very important name for me, and because of that, I would keep it going. JH: And then keep those themes running through the songs you write? SC: Absolutely. Part of the human condition is being trapped in the past or coming up with movie-reel scenarios of possible futures that haven't happened yet. That's what causes the insanity and the unconsciousness of our world today. It's because we're not in this moment. And I'm not some guy trying to preach bullshit that I don't practice. I fuck up a lot, and I get stressed out, but I'm becoming more and more aware of it. Right now I'm in Woodstock, New York, and I'm visiting my girlfriend. I was just collecting firewood, and it's snowing. I felt so great, because it feels pure. Yesterday I was in the middle of Manhattan, and there's energy there too, it's just a different kind of energy. Manhattan would be the prime example of that machine, but there is an energy there. The people, the architecture, the culture there -- that's alluring as well. I'm not going to be the wild guy who goes off to Alaska, although I think about doing something like that once a day, at least. [Laughs] JH: Is making art your response to being aware of this machine? Is that your way of challenging it? SC: It stops my brain from spinning out of control, when I create. Painting does stop that churning mental machine, so to speak. It's something I do well because I've done it all my life. I am not one for modern diagnoses, modern ailment terminology, but I was probably an ADD kid, I was probably borderline dyslexic. I couldn't do the things in school that other kids could do. I couldn't relate; I felt like they were speaking another language. Art was the only thing I did well. To this day, art and music, creative things are the things I do best. I mean, in this world that we live in now. If I had to hunt for my food or collect wood, I could probably do that pretty well. But the only thing I know is art, and I'm grateful for that. JH: How do you deal with the need to get your music out there so people can hear it, when you have channels for marketing that are so oppressive? SC: I know, and I have to tune it out. I have to let go and let them do it, because that would really stress me out. Even MySpace I'm told by my label that I need to be on there posting bulletins and talking. That whole thing freaks me out a little. I got on it because all my friends were on it four years ago. I thought that would be fun, but that's the machine itself. Talk about Big Brother! They have half the people between the ages of 15 and 40 in the country on there, and every bit of information about them is on there. I'm not a businessman, and I think people who love music prefer that artists stay away from that crap and not try to be businessmen. JH: Who do you have in mind when you're writing? Who are you trying to reach with your music? SC: I'm trying to reach people who are on the fence spiritually and ready to evolve. There's people that just won't listen to certain lyrics I have. Hardcore conservatives aren't gonna really sit down and take in a Michael Moore movie; he's basically preaching to the choir. The people who get him are going to get him, but he's not going to convince anyone. I try to keep it subtle enough to convince people that are on the fence. If there are people who I wouldn't convince with writing about all the stuff I think is important, then just performing live and kicking ass is good enough for me. I don't have to be some kind of prophet or poet.
For more information go to www.myspace.com/monsterinthemachine and monsterinthemachine.com
SuicideGirls talked to Shannon about the challenges of surviving and making art inside the machine.
Jay Hathaway: So this was the first album you've put out in a while. What's the hardest thing about getting back into being in a band? Shannon Crawford: The hardest thing is just dealing with the personalities of the business side. Whether I'm getting into it, been in it, getting ready to walk away from it, or whatever, it's usually the personalities of the people behind the curtain. With band members, there's drama from time to time, but it's of a different nature, and it's tolerable because they're artists. There's a lot of politics involved, and a lot of unnecessary stuff that goes on. JH: Is there less of that now than there was 10 years ago? SC: Yeah. Sometimes the dots aren't connected when a tour starts, and we're getting a lot of the bugs out, so to speak. That's the other hard part, too: getting back into the groove when you start a tour. But there are definitely a lot less hurdles to jump now, because it's independently run. JH: Is it strange being on tour and playing these songs live, after you'd been working on them by yourself for such a long time? SC: No, not at all. I love playing live. I really love creating the music, as I do playing it live, but they're totally different animals. It's like apples and oranges, but it just makes a wonderful fruit bowl, you know? [Laughs] I love playing it. I'm not one for playing to samples and stuff, so the live show does have a slightly different vibe than the record, because we're doing it organically. I'm not totally opposed to having some samples to make it more similar to the record, but I'm not one of those guys who's going to do some glorified karaoke. JH: I know you're a painter, and you've been doing that for a long time. I imagined you were the introspective artist-type you'd rather be off by yourself creating things. SC: That's a good point. It's hard to shift gears from lone painter to collaborating. That's why a good majority of this record was recorded by myself, although I'm also starting to work with others more. You have to go into a different mindset. I'm a creative person who's been spoiled by painting and not having to really rely on anybody, and rely on an expensive studio or electronics, a bass player, someone to mix it. I don't even need a canvas; I can just paint on anything I find. Because of the ease of not dealing with the personalities, it is hard to shift to gears. My best work is in my room, alone, just creating building tracks, writing songs, writing a foundation on the acoustic. I'm learning to work with others in a way that takes what I've done and makes it even better and more amazing. This next record -- although we're only on our second single for this one -- is going to be more collaborative, of course. I want it to grow and expand, and let go of some of that ego of self. JH: Have you been able to trust other people with your stuff more? The songs wrote you write are very personal. SC: I'm not like an Avril Lavigne or a Gwen Stefani, who just comes in, lays her tracks and bails. I can't personally do that. I'm still a bit of a control freak with a lot of that. [Laughs] But at this point, at least I don't have to do everything. When I was mixing this record at Henson, both Avril Lavigne and Gwen Stefani were in there from time to time. And I thought, "God, it must be nice to just come in, sing your tracks, lay your voice down and leave." It wouldn't be too bad, but I personally can't do that. JH: What advice would you give to your younger self? SC: I've learned now that if something is irritating, just shut up and listen. See what happens, and don't react too extremely. Of course, I still react, but I would have told myself to play the game. I would have told myself, "Check yourself into rehab, dipshit!" [Laughs] Although I haven't done this completely, I've learned to reduce the ego. If something didn't go my way, I just reacted to the extreme. I wouldn't have done that. JH: Do you have a reputation for that? What kind of impression do you think you leave on people who meet you? SC: When we were on the Team Sleep tour, Christy, who runs our label, said to Team Sleep's tour manager, Evie -- who just passed, by the way, and I'm very sad about that -- she said, "He's really high maintenance, so take it with a grain of salt." As long as things are done correctly, I'm usually not. I don't know what they were talking about! I'm really happy; I try to stay in the moment. When I play, I kick ass. I don't care what the conditions. We've barely made certain load-ins and certain shows, but we did it and we kicked ass. Judging from this last tour, my reputation -- and now our reputation as a band -- is really good. JH: Do you think you can balance writing intelligent lyrics that mean something and coming off as a total badass at the same time? SC: I started writing some music for a soundtrack/score for a friend of mine. His name is Josh Evans, and he's directing a movie called Los Angeles. I did some actual songs for the score, and my lyrics have really evolved, and become more meaningful and poetic. And the music feels even badder! I'm not one to come up with a catchphrase and write a song around that. That's just not my style. Then again, I could suffer for that, because we do live in a catchphrase society. But for me, personally, I have found a balance of being able to write good lyrics and make it badass. Fuck yeah! [Laughs] JH: What do you want to do in the future of Monster in the Machine? SC: I'm hoping to put out a couple more records, no matter how it turns out. And if it turns out even remotely well, just continue making them. If I feel like writing music with a different vibe, just put out something with different players and call that something else, but continue with Monster in the Machine. The name of the band is meaningful to me. A lot of people ask me, "Are you a heavy metal band? It sounds heavy metal." Well, it's not. The machine is everything our pure souls battle on a daily basis, the military-industrial complex, the war machine. There are those like myself who complain about it, but we keep that machine going. We are the monster, with our need to watch stupid television shows and medicate ourselves and eat poorly, not exercise, not meditate, whatever it takes. The monster, from the machine's point of view, is someone who does see it for what it is, and does comprehend the lies of that machine. So that's a very important name for me, and because of that, I would keep it going. JH: And then keep those themes running through the songs you write? SC: Absolutely. Part of the human condition is being trapped in the past or coming up with movie-reel scenarios of possible futures that haven't happened yet. That's what causes the insanity and the unconsciousness of our world today. It's because we're not in this moment. And I'm not some guy trying to preach bullshit that I don't practice. I fuck up a lot, and I get stressed out, but I'm becoming more and more aware of it. Right now I'm in Woodstock, New York, and I'm visiting my girlfriend. I was just collecting firewood, and it's snowing. I felt so great, because it feels pure. Yesterday I was in the middle of Manhattan, and there's energy there too, it's just a different kind of energy. Manhattan would be the prime example of that machine, but there is an energy there. The people, the architecture, the culture there -- that's alluring as well. I'm not going to be the wild guy who goes off to Alaska, although I think about doing something like that once a day, at least. [Laughs] JH: Is making art your response to being aware of this machine? Is that your way of challenging it? SC: It stops my brain from spinning out of control, when I create. Painting does stop that churning mental machine, so to speak. It's something I do well because I've done it all my life. I am not one for modern diagnoses, modern ailment terminology, but I was probably an ADD kid, I was probably borderline dyslexic. I couldn't do the things in school that other kids could do. I couldn't relate; I felt like they were speaking another language. Art was the only thing I did well. To this day, art and music, creative things are the things I do best. I mean, in this world that we live in now. If I had to hunt for my food or collect wood, I could probably do that pretty well. But the only thing I know is art, and I'm grateful for that. JH: How do you deal with the need to get your music out there so people can hear it, when you have channels for marketing that are so oppressive? SC: I know, and I have to tune it out. I have to let go and let them do it, because that would really stress me out. Even MySpace I'm told by my label that I need to be on there posting bulletins and talking. That whole thing freaks me out a little. I got on it because all my friends were on it four years ago. I thought that would be fun, but that's the machine itself. Talk about Big Brother! They have half the people between the ages of 15 and 40 in the country on there, and every bit of information about them is on there. I'm not a businessman, and I think people who love music prefer that artists stay away from that crap and not try to be businessmen. JH: Who do you have in mind when you're writing? Who are you trying to reach with your music? SC: I'm trying to reach people who are on the fence spiritually and ready to evolve. There's people that just won't listen to certain lyrics I have. Hardcore conservatives aren't gonna really sit down and take in a Michael Moore movie; he's basically preaching to the choir. The people who get him are going to get him, but he's not going to convince anyone. I try to keep it subtle enough to convince people that are on the fence. If there are people who I wouldn't convince with writing about all the stuff I think is important, then just performing live and kicking ass is good enough for me. I don't have to be some kind of prophet or poet.
For more information go to www.myspace.com/monsterinthemachine and monsterinthemachine.com
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