Coast to Coast with Brian Musikoff (Stuyvesant, Friends Romans Countryman)

When I recently got in touch with Brian about our interview. He seemed curious as to why I, or anyone else for that matter, would be interested in doing or reading an interview with him. To be 110% truthful, Brian perfectly fits the mold for most of the interviews I've done or been interested in doing over the years. Getting to know someone who's inspired me with their music, art or straight up creative nature interests me more than any upcoming release date, tour or single. 

 For me personally, Brian Musikoff fits the bill for the kind of interviews and exchanges I prefer to approach. As the artist who created the logo United By Rocket Science and the charismatic bass player for Friends, Romans & Countryman and Stuyvesant. (A band whose music and live performances brought me more joy than I could ever wish for. ) So much so, that whenever I think of or hear their music. I'm brought back to my time in Hoboken ans well as my nights at Maxwell's. The music venue that first brought me to the now famed town in the early 90's. I'm very appreciative of Brian's time and his helping me build a bridge between my current home in New Jersey to my soon to be new one in Seattle. Here's what he had to share. (Interview and images by yours truely, James Damion.)

When I found out that I would soon be relocating to Seattle. I took comfort in the fact that I would be able to look up  an old friend from the old neighborhood.

What was it that sparked your move to Seattle?

After being fought, fucked, and educated in the NY/NJ area for 45 years of my life I was suddenly overcome by an insatiable desire to tear up my roots; something that (with the exception of a 4 month stint in Newport, Rhode Island in '92) I have never experienced before. I needed a change and I needed to relocate myself to a slower urban environment.

Over the past 20 plus years I have observed a very lame and grotesque assimilation in the NYC area as far as being a cultural epicenter is concerned. I'm speaking for no one else other than myself here when I say that I have been feeling an ever growing increased tension toward the new generation of entitled and naive people who have outwardly exhibit a blatant disregard for NYC culture, and toward those who's basked sense of entitled security which has made them feel comfortable enough to behave disrespectfully with out consequence. I have seen the greater wave of social and economic interest entirely shut down the venues, shops, and restaurants that I hold close to heart.

 What were some of your initial impressions of the area? Pros and cons for any East Coasters looking to move there?

As with any metropolitan area, the local true blue natives are going to be understandably defensive against an influx of new comers and their affects on the local economic and social climate. As far as the weather itself, new comers need to be prepared for a long, wet, grey winters. The sun only appears in bursts between November and February and the cold misty rain is frequent. Personally, and to the dismay of many defensive locals, I love the winter weather in Seattle. I see it as "Forrest weather". I'm here to contribute more than I take, and those few who are opposed or uncomfortable with me being here have no choice in the matter.

What do you miss most about New Jersey? In particular, Hoboken.

I miss the pizza, the "mutz", the NYC view along the Hudson, our band Stuyvesant, my immediate circle of dorks, my bartender family, and the proximity to the beach.

Have you had any musical collaborations since you've been out there?

Not yet, but I shall.

(Live from the Barrage podcast.) How did you become involved with "Live from the Barrage" podcast Here? How do you stay involved being out west? What is the key focus of the show?

Live from the Barrage

I knew John and Patrick of LFTB largely through the independent rock community, and not just here in NYC and NJ either. I initially appeared on the the show as a guest and I guess our host John Houlihan and Producer Tömmy Röckstar immediately picked up on my dedication to the mutual interests associated with the show. Since I've moved away from the NYC area I continue to support the show by booking guests, designing the weekly promotional images, and promoting the show on social media. The show is still focused on discussion regarding (but not exclusive to): good music and those who create it, good comedy and those who best understand it, crap/not crap, The Ryan Game, TRNN NOOZ, and Mario Asaro.

You grew up in a few stops from me in Bayside, Queens. Some of my earliest adventures included heading to Flushing's Main St. and eventually Mike's Comic Hut. Can you share some of your early impressions of living in Queens?

I lived in Bayside, Queens until I was 11 years old, where my experiences on my own were limited to nearby destinations along Bell Blvd such as Peter Pan Arcade, White Castle, George's Pizza, the Bayside Batting Range, and Bayside Cinema (where I saw Empire Strikes Back, E.T., Stripes, and Poltergeist). My grandparents lived in Flushing on Main Street so I was there often, and of course this proximity made me a regular attendee at Shea (whether legitimately or vagrantly, heh). My dad moved around a lot but always remained in Queens, so I've resided all over neighborhoods such as Forrest Hills, Woodside, and Astoria. 

What initially interested you in art and how did it influence your decision to go to Art school?
As a hyperactive kid, music on the stereo in my ears and a pencil and paper in my hands were the only things that kept my interest as child. By the time I survived the social warfare of a suburban NJ high school (my mom remarried and moved us to Englishtown, NJ in 1983) I knew that a state school, or community college was not for me. 

You designed the logo for U.B.R.S. Aside from here and the work you've done for Stuyvesant. Who else have you worked with?

I've designed animation for comedians such as Patton Oswalt and Brian Posehn, and my clients include Warner Bros Records and Relapse Records. 

The bass has long been my favorite instrument. Was it the first instrument you learned to play? Inspiration?

My first ever instrument learned was bass drum for my grade school band. Moving on to Junior High I wasn't focused enough or disciplined to study drums, so naturally I started piano. (That doesn't require focus or discipline, right?)  In High School I fancied myself a Hardcore singer with Wake Up Call, and by college I had taken up bass because the band that I was in at the time (Overeasy with Brandon Stosuy of the website Pitchfork)  just had their bassist quit. To this day I can still not play chords. I live for pushing air and fattening riffs.

What was/were some of the first bands you played with?

My first ever band was in 1986, I played Casio keys for a middle school rap group that consisted of two white guys and two black guys called The Funky 4 (no relation to the much more accomplished The Funky Four Plus One of the Bronx), we played talent shows and battle of the bands. In High School I was in a home recording "basement band" with my best friend called Spleverb. Spelverb were reminiscent of Ween (I guess) and by the time of graduation we had evolved to a full 4 piece band. I was in a few punk bands that never got off the ground in the early 90s, and then in 1996 I was introduced to the members of FRC.

 I first learned about Friends, Romans, Countryman from Al (Dromedary / Sugarblast). Can you tell me how you met Sean and how the  band came to be?

Bill Dolan (American Standard) and I were both at the first big Descendents reunion show at the Stone Pony where he introduced me to F.R.C. members Sean Adams and Dan Murphy who were in need of a bass player. So, we connected really easily being that, after all, we were together at a Descendents show (no pun intended), and we all lived in or around the Hoboken/Jersey City area. I played and recorded with FRC from 1996-2002, and then in 2003 Sean and I joined Ralph Malanga from Footstone to form Stuyvesant.

Stuyvesant Lto R; Ralph, Pete, Sean, Brian.

http://www.livefromthebarrage.nyc/

Stuyvesant on Dromedary Records

Stuyvesant - Shmyvesant

Is it me, or do bands these days seem to take themselves way too serious. With all the competition, grabbing for press and campaigning for votes. The indie scene is beginning to look like it forgot to have fun.  Lucky for us we have Stuyvesant to balance things out by reminding everyone that making music is supposed to be a fun, creative outlet that makes everyone involved feel good and not worry about the daily pressures and bullshit life sends our way on a fairly daily basis. Like a reliable friend or a good, stiff drink. Stuyvesant never seem to let us down. Their music sticks with us through both the good times and the bad. They're always there to remind us of the good things. The simple pleasures. Whether it's through their hook laden melodies, their uplifting singalong choruses or maybe their incredible ability to allow us to be silly and just have fun, even it it's at their own expense. Each one of these qualities go a long way towards making Stuyvesant so accessible and endearing to those to us.

The bands latest, Shmyvesant marks Stuyvesants third full length release and the debut release for Al (Dromedary) Crisafulli's new label, Sugarblast Records. The record opens with Baby Bear.  A song that immediately puts the spotlight on those aforementioned hooks and melodies. More than ever before, I'm instantly reminded of how vital the combination of Sean Adams and Ralph Malanga's are to what makes this band so loved. As much as I've come to love their former bands Friends, Romans, Countrymen and Footstone.
It's nearly impossible to measure the improvement made when bringing the two together.
To say that they compliment one another would be, at the very least, an understatement.
The album seamlessly flows from one song to another, with tracks like Hellbent for Heather, Oatmeal Song, Shhh and Until You Came Around leading the way. Stuyvesant's effortless ability to create punk infused power pop melodies, hooks and sing along choruses make even the most jaded old curmudgeon sing along and dance with uncoordinated, wild abandon. Overall, Shmyvesant closes out a tough year on a high not and reminds us we we shouldn't rush to deliver those "Best of" lists. The more I listen and experience Stuyvesant. The more I realize how they are to the present what bands like Superchunk, Big Drill Car and ALL were to me in the 90's. Not a bad class to be included in if you ask me.
James Damion

Sugarblast Music  Get it Here

Stuyvesant Says Goodbye to Maxwell's

Last night I dusted off my old bones and headed over to Maxwells just in time to catch my favorite Crunch Pop nerds Stuyvesant. As the closing of
this legendary club looms near, every day I've had the opportunity to reflect on my twenty plus years of  going to shows on 11th and Washington.

From my early days of taking the Path from Manhattan to see acts such as Helmet,
Big Drill Car,

Sunny Day Real Estate,
The Doughboys, Knapsack and Dahlia Seed. (Just to name a select few.) To my nights walking or riding my bike from my nearby digs in Hoboken. Maxwells, for me and many others has been about the people just as much as it's been about the music.
The waiters, waitresses, bartenders, door and sound peeps and of course
Todd Abramson.

Each and every one of them played a part in making Maxwells a special place.

In recent years I've grown very accustomed to seeing the band Stuyvesant play Maxwells.
It wouldn't be any stretch of the imagination to describe them as Maxwells house band or for lack of a better term
'house blend'. The two go hand in hand in that I just could not imagine experiencing either without feeling a sense of joy. Good music, good vibes, good people. What else can you ask for?

No matter how tired, busy or downright sweaty I had become in the days leading up to Stuyvesant's final Maxwells show. I knew in my heart of hearts that there wasn't anything that was going to keep me from making an appearance. Prior to arriving; I can honestly say I was not in the highest of spirits. Thankfully that mood changed as soon as I made my way through the doors.

As the band took the stage with an unfamiliar face setting up behind the drums. "Where's Pete?" I thought. Turns out it was Friends, Romans, Countrymen drummer Dan Murphy. Without skipping a beat the crowd was treated to a single song quickie of a reunion with a performance of 'Marry Me, Fly Free'.
After a few hugs and some high fives from friends and family Dan became one of the crowd and Pete Martinez  ascended to his proper place behind the skins. From there on it was all Stuyvesant all the time.

The band put on a spirited set that brought to mind many exemplary nights at Maxwell's. The energy from both the band and crowd were electric. I don't think anyone really wanted it to end. The fact that we wouldn't let them leave the stage after two encores proves that.
The band was unplugging their gear for what might have been the third time when the crowds chants were met by
"Don't you people have to go to work in the morning?" The truth is, we didn't care. With a new record due soon, I know I'll be seeing Stuyvesant again in the near future. It's just kind of sad knowing it won't be at Maxwells.

Special thanks go out to Ralph, Brian, Sean and Pete for making it such a fun night.
I appreciate their giving into my nerdy request to each sign their set list. One day that shit is going to put my kids through college. James Damion