2016 has been pretty big year for Brendan Kelly. So far it has been filled with a bunch of “firsts” and it’s about to become more hectic, too. The first Falcon record in ten years, Gather Up The Chaps was released on Red Scare in March. And now that the long awaited record has finally graced our record players (or iPhones or streaming apps or cassette players or floppy disk drives or whatever the fuck), the time has come for the band to head out and do some proper touring for the first time in a long time. They played their first Groezrock show, but The Falcon will be going on their very first west coast tour in July as well as playing Punk Rock Bowling Asbury Park in June (SEE TOUR DATES BELOW!). So Punknews editor Ricky Frankel caught up with Brendan to talk about the upcoming tour, the new album, David Hasslehoff, his Twitter endeavors, that famous interview he did on The Daily Show and much more.

Photo Credit: Greg Pallante

You guys have your first west coast tour in July. How come The Falcon never made out here before?

Well the main reason is because The Falcon never really existed as a touring entity before. A lot of people point to the fact that we did in 2006 I think – 2007. It was a Lawrence Arms tour supporting Oh! Calcutta!, which was the last tour we actually did before we took a little break. On that tour Sundowner opened, The Falcon played, and then American Steel, and then The Lawrence Arms. But that really wasn’t The Falcon. It was really just The Lawrence Arms, but it was just me and Chris on different instruments and Eli from The Smoking Popes playing second guitar. So it didn’t really feel like a different band. You know what I mean? It was just sort of The Lawrence Arms doing Falcon covers. And while I had an awesome time doing that and it was really fun and I think that all four of us of had a really good time doing that, it didn’t really seem like The Falcon. It didn’t really have anything with what was on the record except for like my voice. It felt more like a cover band and so this time is like the actual players that are on the record. This is just the first chance we’ve had to get out there. Obviously, everybody has shit going on. It’s really exciting to kind of like, and absolute no disrespect to Chris or Eli they both did awesome jobs, but this is the band that is on the fuckin’ record so that’s cool.

These shows seem to be one big Red Scare family tour. You have The Copyrights and Sam Russo coming along. How did Mikey Erg get on the bill, too?

Just by being awesome! Mikey is terrific. Everybody loves Mikey. It was sort of like you look at the options and it’s like, “Would you like to do this tour with Mikey Erg there? Or would you like to do this tour without Mikey Erg there?” Everyone was like, “I think we should have Mikey Erg there, don’t you think? Yeah, that would be much better.” It was just sort of a no-brainer. It’s like, have Mikey around and you are always going to have a good time. And there are few people like that in the world, you know? I’m sure you have some friends like that. It’s just like, “That fact is man, it’s going to be a better time.”

I see you are playing the famous Troubadour in Los Angeles for the last show of the tour. Have you played at that venue before with your other bands? What are some of your favorite west coast venues to play?

Well I’ll answer the second part first because The Troubadour is probably my favorite venue on the west coast – one of my favorite venues in the world to play. They’re always super cool to us. The Lawrence Arms played there a lot. It was sort of the main place we would play, but at the end we kind of got bigger and we started playing The El Rey. I said “the end.” I know this is fuckin’ Punknews. People read a lot into terms of phrase – I just meant at the end of our last tour (laughs). The end of our last album cycle we started playing at The El Rey and that was really awesome, but The Troubadour I feel like my sort of “rock and roll home” in LA and LA it turns out is a pretty rock and roll town. So yeah, we've played there before. I’m excited for The Falcon to play there. I’m really excited to play Bottom Of The Hill in San Francisco. I mean there are lots of great venues in LA and San Francisco. I’m excited to go up to the northwest as well. This whole thing is going to be really exciting and fun. It’s a cool band to tour with.

(laughs) I’m just curious, but were The Lippies supposed to be on this tour as well? The Lippies were not supposed to be on this run. They had another tour going that was supposed to be right now. I can’t remember what it was, but they had another tour booked for right now. Maybe it was Masked Intruder? I’m not sure. But yeah, it's a shame about those guys. Cool band.

This is just an observation I have made and maybe it isn’t true, but I find that midwest bands and some east coast bands sort of hesitate to tour the west coast, why do you think that is?

I don't know about that because bands I have been in have always prioritized towards the west coast quite a bit. Where it gets tricky is that everything is so fuckin’ spread out man. If you’re doing a midwestern tour you're looking seven-hour drives maximum and there’s maybe two of those. If you're doing an east coast tour, it becomes like a five-hour drive max pretty much. And again, there’s only like two of them. And the west coast everyday – eight hours. To be a smaller band or to be a band that rocks a more independent program – if you’re not in a bus, the west coast is just grueling. I mean that is just the long and short of it. There are a lot of all-night drives. It kind of takes a toll on you especially like, when you become like a bunch of old men like us it’s like, “Ugh, I don’t know if I can do it.”

So I know you guys just played Groezrock. How did that go?

It was crazy, man. We were there for, I don’t know, like fifty hours or something total. I think I slept six hours the entire time I was there from like 6AM to noon on the first day. We never like adjusted to the jetlag. We just kind of came in, drank some beer, went to the festival, played an awesome show -- I watched Burn play, which was really cool. They're an old east coast hardcore band. And then basically went to straight to the airport because the Brussels airport was just blown up, you know? And so they had like insane security, you know with good reason. I don't know if their methodology is exactly what I would have done, not that I’m a security expert or anything. But when I got there at 3:30 in the morning there was 3,000 people like outside waiting to just get into the airport. Again I’m no security expert, but it seems like 3,000 kind of like frantic people trying to all pack through one door seems a little “sitting duck-esque.” But it was wild man. That all ended up being fine, but we went through like x-ray screenings on the spiraling parking garage ramp because they just didn’t have enough facilities inside. Everything had been blown up. It was crazy!

Oh wow!

Yeah. Dillinger Four’s tour manager – I was driving with Dillinger Four because our flights were the same and he was just like, “This is the craziest travel day I have ever had and it’s 4:15 in the morning.” I think that kind of summed it up. The entire festival was great and cool, but that fuckin’ airport experience was far and away what I will remember from that weekend.

(laughs) Do you guys have anything special planned for your show at Punk Rock Bowling Asbury Park?

We are going to come as The Falcon, we are going to play Falcon songs, we’re going to rock everyone’s genitals right off their bodies and that’s what we’ve got planned.

(laughs) Alright so let’s get to the new album, which I love. It's great.

Thank you!

Other than having Dave Hause in the studio this time around, was there a different way you guys went into recording Gather Up The Chaps as opposed to Unicornography? And also, are you glad you waited this long to write it?

Well to answer the second part first again. That’s going to be my thing. Yeah, it needed to happen organically. So there was no way to force this before now. I have been doing a lot of – I don't know how to say this without sounding like a pompous dick, so I’ll just say it lie a pompous dick. I have been doing a lot of like research into different ways that I can write songs and sing songs on the few projects that I have been in and I felt like all that rehearsal – not that I want to call those albums “rehearsal albums,” but you know I was working towards something and this kind of seems like where I have been able to spread my wings as a song writing and a vocalist and play to my strengths while doing more different kind of stuff. So I’m pretty happy to have waited that long from a personal growth stand point I guess. The big difference this time is that last time it was me and Dan and Neil in the studio and we like engineered it ourselves. There was no like foil in there. You know what I mean? It was just the three of us existing in our own universe. I think that album turned out well. So I can’t really say that things got away from us or anything, but that was just the vibe then and obviously we are all used to working with seasoned producers and engineers and stuff like that. When it came to figure out how we were going to track this record -- I bet it was Dave. I suggested Dan Tinkler because I had really liked working with him. He assisted Matt Allison on the Metropole sessions and Dave Hause was like, “Yeah man, the last thing the four of us need is like more studio experience in the room. We need somebody that’s young, that likes this shit and thinks it’s cool.” And Dan had already helped us with the track for the Red Scare ten-year comp so we had already worked with him a little bit and we were confident that he was at least a good fit socially and stuff. His presence could not be overstated. He was a really good collaborative partner in the studio and it does have a lot to do with I think that he is young, he is a fan first, and then we met him and it was just an awesome experience overall. I mean he’s on my album cover for fuck’s sake! One of my favorite songs on Gather Up The Chaps is “Hasselhoff Cheeseburger,” what inspired that song? What inspired the title for it? It’s definitely out there.

(laughs) So you’ve never seen the video of David Hasselhoff like super drunk at the top his stairs? He’s got like a pizza box open and he’s got a cheeseburger and he’s just like mangling shit out of this cheeseburger. He’s shirtless and his daughter is video taping it and she just like, “Daddy! You said you wouldn’t drink.” And he’s like, “mleh, mleh, mleh, nleh, bleh…”

(laughs) Oh yeah! I remember that.

I see David Hasselhoff as a super tragic figure. I’m sure this isn’t the direction you expected this to go (laughs). He was on fuckin’ Night Rider. It was the number one show in America. And he went from Night Rider to Baywatch, which became the most watched half-hour show in the history of television. His pedigree is undeniable. He is super handsome. He is like a famous pop star in other parts of the world and yet he’s fuckin’ joke. Nobody takes him seriously at all, right? And it’s like, does that have maybe everything to do with the fact his last name is goofy? I mean, maybe. There’s some x-factor about him that people are like, “This fuckin’ loser!” even though he is like a multi-media super star powerhouse – cash cow. It’s crazy! And it’s like; I have extrapolated from that video where he is there shirtless, piss drunk -- it’s just like, he’s getting old and he doesn’t have any youth, which is like his most bankable feature and he has become more and more of a drunk. He’s a disappointment to his family. He’s a disappointment to himself and all of his accolades and success mean nothing because people still laugh at him and he has to do silly fucking joke cameos just to stay in the public eye and completely make fun of himself. He has to clown of himself. He can't do anything with any modicum of sincerity. It all has to be hyper “wink wink,” “nudge nudge,” self-aware. You see him fucking sitting there just dying. I’m he’s dying! He’s poisoned himself in front of his daughter and his daughter is like, “You promised you wouldn’t do this again!” So it’s not like it is the first time its happened. You just see this really tragic hero struggle in that little video and that was the fuckin’ inspiration for that song.

It’s not literally about David Hasslehoff, but that was the like the jumping off point for it. I also kind of thought that it would be fascinating to sing the song sort of being a joke and having to do things that were really self aware and like “wink wink,” “nudge nudge,” and try to set it to like a hip-hop beat and do it totally sincerely because that just seems like a really bad idea. (laughs) I was like, “If I can do this and I can do like a rapid fire hip-hop introduction and make it sound cool.” That’s a real like, “They said you shouldn’t do that, but I did it!” (laugh) Actually, just on the side I live in Los Angeles and I have driven by his house and it’s just ridiculously gigantic.

I mean of course it’s gigantic! He’s one of the most successful fucking television stars of all time -- many times over. It’s crazy. Nothing like the fucking Hoff, man. And here’s another thing and this has nothing to with anything, but given the form in which this interview is gong to be published I feel compelled to point this out to your readers – he looks exactly like Matt Skiba, like they have the exact same fucking weird “100 yard stare.” It is crazy. Matt is one of my best, best friends and I have told him this time and time again. They look exactly alike. And it's mostly in the eyes and like the way that the mouth – I don't want to say “hangs open” because that is like the wrong term for both of them, but the way they look with their mouths slightly, their lips slightly not together and the look in the eye. It is identical. So there you go Punknews! Check that out!

(laughing) Is that in reference to that Blink-182 band picture he is in?

No, no, no. This is just in reference to him like being my best friend since we were kids and me being like, “Dude! You look like David Hasselhoff, man!”

What inspired the song “You Dumb Dildos?” How is the title for it related to the lyrics?

So the title came about because Dan and I were on an acoustic tour in the UK and Europe. We get to Germany and we were taking the train everywhere. It was just us, acoustic guitars, and taking trains all over the place. I want to say we were in Munich. We get this cab driver late at night and we just start talking to him and he starts being just like, “Man, you guys are awesome. This is so cool. You're Americans traveling around the world by train, playing music.” And he’s like, “I like the way you guys talk. It's cool. I wish I could talk like that, but my English is bad.” He was like a Turk or something like that. And we said something and he was like, “What is dildos?” We’re like, “ You know, dildos – like fake dicks.” The guy was just loving it. He’s like, “How do you use this? When does it come up?” We’re like, “Alright, see these fucking guys here. These guys are a bunch of dumb dildos.” It was just some drunk dudes walking down the street. And he’s like, “You guys are dumb dildos!” And we’re like, “Yeah! Those guys are dumb dildos!” We’re like, “You could lean out the window and yell ‘Hey, you dumb dildos!’” And so he did! He tried to do that the entire time we were driving home. The cab driver is stopping and going up to everybody and saying, “YOU DUMB DILDOS!” And we were crying laughing. It was so amazingly funny (laughs).

So Dan came up with this song – I’m kind of extrapolating and I don’t like to do that, but for the sake of this…I might be wrong about this, but I feel like Dan’s half of that song is sort of about the general sort of casual lack of grace at which we like acquiesce to the destruction of our universe based on what we need just right at the moment. Like sort of a real callused like,”Hey, what the fuck are you going to do? Yeah, the world is dying, but I sure love having Velcro everywhere” or whatever the fuck. It's just the resignation of destroying the world because I need this thing that makes my life this much easier, right?

And my half of it is an internalized take on that where it’s like, “Oh yeah, I’m absolutely killing myself, but what am I going to do? Quit drinking? That sounds stupid.” It’s the same thing like, “What are we going to do? Quit driving cars? So what if it fuckin’ kills us all?” “I’m not going to quit drinking either. So what if I just die from doing this?” It's sort of a call to action for lack of a better term about like, “Hey, wake up. We are killing the world. We are killing ourselves you dumb dildos. Pull it together!”

If the Red Scare comp was not released in 2014, what do you think you would have done with “We Are The Bald?” Would it have made it on to Gather Up The Chaps or would you have just held on to it?

That song was written in response to the fact that the comp was coming out. I didn't just have that song just lying around. You know The Terminator 2? Where they are tracking where they got the test build the first terminator? And the way they got the test to build the first terminator was to look at what was going on in the arm to sort of build out the whole terminator based on the terminator based on what they had found. So that means no one actually invented that technology, you know what I mean? There was just a piece from the future and that information contributed to building the thing that eventually came back in time. That is kind of how Red Scare and The Falcon are in terms of like they give birth to each other. Like when I decided to start The Falcon, it was all based on me looking at Todd Mahoney who used to be the guitar player of Rise Against, and being like, “That guy is the best, most awesome guitar player I have ever seen. Like the way he looks on stage, the way he plays, everything. I want to be in a band with that guy and I want to call it something like The Falcon.” I just wanted to be bombastic. And Toby was like, “Dude, if you are going to start a band with the guy from Rise Against and the guy from Alkaline Trio I want to start a record label to be put the record out.” And I wanted to be part of the record label – hence Red Scare was born. So ten years later he wants to do the Red Scare comp and show and he was like, “Hey, The Falcon is the best-selling record on Red Scare and it was the first record we ever put out (the EP), so you guys need to be on this comp.” And so in that regard, Red Scare rebirthed The Falcon as well because we never would have like kicked the dirt off our dicks and like pulled it together and got Dave in the band and stuff like that. So then we recorded that song and we were like, “Oh! This was pretty fun.” And then we had to play the show. Dave said he would come out and play guitar. Once the show was over we were like, “Okay, so we’re a band? Okay.” It was like the first time there had ever been like an actual band “The Falcon” sitting in the same room after like a show that was going to keep doing stuff. So in a way Red Scare gave birth to The Falcon, The Falcon gave birth to Red Scare.

I know that you play a major part in running Red Scare. Do you consider yourself an entrepreneur in this instance?

No. Toby is an entrepreneur and I am like the fuckin’ dipshit friend along for the ride. I liken our relationship in Red Scare to the prime minister and the Queen of England. The prime minister is actually in charge of like running the country and making sure shit gets done and the queen gets to like show up and be somebody that people recognize and she goes, “Okay! And the mall is open!” That’s kind of what I do at Red Scare. Toby is like, “Okay, you gotta go check out this band. They know who you are so tell them that they should be on Red Scare. So I’ll show up and be like, “Hey, you guys are great. You guys ever hear of Red Scare?” “Cool, we’d love to talk to you some more. Here’s Toby’s number. He’s the one that actually is going to give you the real deal.”

I appreciate the question and I’d love to take credit for it, but Toby is the real mastermind behind this. He’s got a real pacemaker’s ear and he’s a smart businessman. I mean he’s a German so you know, he runs things with precision.

Can successful entrepreneurship and punk rock coexist in your view?

Sure. I mean you know -- Brett Gurewitz, Fat Mike, even like fuckin’ Green Day started out as a small business. Three dudes selling songs. I think entrepreneurship is endemic to punk rock. It’s exactly what it is. Every DIY label, every zine – no matter how big they have become they were all started out by somebody who like, “Meh, fuck it. I’ll do this.” A lot of times that’s sort of the way shit kind of comes about, right? The greatest entrepreneurs almost never like your Steve Jobs [types]. It’s more like the guys that started Potbelly’s, which is a sandwich place that's really big in the Midwest. It started out as a furniture store and his wife would make sandwiches and people just started coming for the sandwiches. So he was like, “Fuck the furniture!” I feel like that is the real story of entrepreneurial success – [the ability] to juke and jive with the times and play to your strengths when the timing is right. In that regard I think punk rock was really ahead of the curve for a long time in like the 80’s and 90’s and maybe now not so much. I mean – what can you say? The music industry has changed quite a bit in the past few years. Rock and roll itself is not nearly as popular – guitar music in general is not really as popular as it used to be. So I don't know if I can blame the hot, young minds in punk rock for that. It’ll be interesting to where this all goes and how it plays out.

So I re-listened to your three-part appearance one the Anxious & Angry podcast (episodes 78-80) and noticed a bit of a pattern through out your early career and it’s that you kept saying no to getting signed whether it was with Slapstick, The Broadways, etc. Other than the music being awesome, what do you think it was that had label people coming back to you?

I think that it was maybe a bit of product of the times, in which there were just a lot less bands, there were a lot less people out there, there were a lot less personalities that you could really point to be like, “Oh, that guy is a guy that I will remember.” As opposed to – with no disrespect to any of those “drive through” bands that were like really popular at that time. They had like five guys and nobody had any idea who they were. They were a band and they were a band that people loved, but it wasn’t like Chicago Bulls in the early 90’s where you knew who every single dude on the team was because they played their own position. You know what I mean? I mean “position” like charisma-wise. Not in terms of the sports – my analogies are terrible. But a big part of it was that there were less people out there. There were less people that were like kind of slightly unusual and I just had this real shitty voice and it kind of stuck out. And also people didn't know. You know what I mean? Craig Aaronson didn't know that I was dick to Brett Gurewitz. There was no internet to tell him. He didn’t have any idea that I was just some punk trying to burn the whole thing down. At that point the big players would circle around all the small punk labels and see what was going on there. And I would just keep being on Asian Man Records in different iterations. Maybe people did know I was the same dude, you know? I think it was just more of a product of the times if anything. And it is more of a product of the times than anything that I would say no to that shit. These days that seems like a pretty stupid thing to do.

I know you went to Northwestern for college. Do you think having a degree has given you some sort of advantage compared to other punk musicians who don’t have a degree? What was your college experience like?

My college experience was fine. I scheduled all my classes for Tuesdays, Wednesdays and Thursdays from 8AM to 10PM so I could leave school on Friday and go play shows on Friday, Saturday, Sunday and come back on Monday for school Tuesday, Wednesday, Thursday and keep rolling it like that. That was pretty much the grind that we went through during college.

As far as if whether it helped me or not – I haven’t utilized my degree for anything. I do have like a couple of business ventures that I’m involved with now where I’m involved with a lot of Northwestern alum who come from a very different background than me generally. Socially they are very different people than me and that credential goes a long way into calming them down that I’m not some weird drug addict that lives in a van or something. I also know that some of my colleagues that did not go to college feel like they are really at a disadvantage now as we’re like older and they don’t have a college degree and rock and roll isn’t as quite as fulltime of a gig as it used to be. But I think those people are fuckin’ crazy because like I said, my degree hasn’t fuckin’ helped me that much. Am I glad I went to college? I suppose. Well yeah, what kind of an asshole would I have to be like, “Nah, I don’t care about thing that that people are literally killing themselves to be able to get.” So I’m glad I was afforded the opportunity, but I don’t know if my particular trajectory has been helped all that much by my degree. Like I said – with a few pretty small conversational exceptions. Like I’m meeting a 60-year-old venture capitalist and he’s like, “Who the fuck is this guy wearing a shirt with a guy barfing on it?” And the guy introducing us goes, “Oh, Brendan went to Northwestern, too.” And he goes, “Oh, I see!” So it’s like the difference in like five minutes in an awkward conversation rather than fifteen minutes in an awkward conversation. That’s where college has really helped me the most.

So for the long term future, do you think that you’ll just be focusing on The Falcon or is there anything planned for The Lawrence Arms or any other projects?

Well I think the next thing after these Falcon shows is – without going too far into it because I’m not supposed to say anything about this – but The Lawrence Arms have a series of shows that we are going to do. And then I want to write a new Wandering Birds record. I’ve already got like half of it already done and I feel pretty strongly that’s like the next thing I need to do. So just like the way that The Wandering Birds was sort of training for this Falcon record, this Falcon record has been good training for next Wandering Birds record.

I just have to ask you about your interview with Ed Helms on The Daily Show (see the full clip below) — is there something specific that they left out in that interview that you wish you had left in? What was something that they didn’t show that you were hoping they would?

That’s a good question, but it was a long time ago. The thing I most remember about that interview was that Ed Helms, who has now gone on to become a fuckin’ A-list movie actor or whatever, which is cool – he and I were like the same age, we kind of grew up in the same part of the world and we just got along so well so instantly. There were times where they had to turn the camera off because we were both laughing so hard. We were just sitting there trying to crack each other up. It was almost like a contest, you know? And it was so, so funny and I remember just like genuinely being like, “Aw man! This guy is awesome!” I’m really getting along well with him and at the end of it we’re like walking to go get a beer and I was like, “Yo man, I’m a big fan of The Daily Show and I understand that you are make me look like kind of a dumb dick, but maybe don't make me look like too much of a dumb dick because this is kind of like serious business here with this second term of George W. Bush and everything.” And he goes, “You know dude I’m pretty sure you’re the voice of reason in this piece all things considered” (laughs). Because I was the counter point to a young Michale Graves wearing a skull on his face. And so I was like, “Awesome, man!” And then that was when we high-fived and that was like the big slam dunk where they fuckin’ said you know, “Temporary face paint – stupid, permanent arm paint – awesome!” It was that high-five right there where he was like, “Don’t worry we’re not going to make fun of you too bad.” And it was like, “You dick!” (laughs) It’s like what are you going to do? It’s The Daily Show. You are kind of walking into a fuckin’ lion’s den when you agree to be on that show in that capacity, right? So there was nothing really I wish they had left in. Do I wish they had made me look funnier and cooler? I mean ehh. Who cares? Whatever fuckin’ serves their purposes.

I will say my brother calls me and he’s like, “I’m in a bar with Ed Helms right now. I just told him I was your brother. He’s a big fan of you -- not a big fan of me!” (laughs). I don’t know what my brother did to Ed Helms. Fifty percent of the Kelly brothers are liked by Ed Helms. That’s the big statistic.

On Twitter I have noticed that you and a couple of other punk bands are in touch and friends with porn star Lexi Belle. How did she come into the picture?

Lexi Belle is a punk fan. She’s now a close friend. She’s a great girl. And she was in Chicago one time and tweeted about how she was so excited to be in the same town that her favorite band The Lawrence Arms was from and I was like “What the fuck?!” I woke up and I had like 85 emails, which is unusual for me. And everybody was like, “Dude! Lexi Belle is tweeting about you and she’s in Chicago!” I was like, “Oh, that's pretty cool.” So I hit her up on Twitter and next thing you know she and I and my kids ended up going to aquarium together that day and we have just been friends ever since. It was pretty funny because I told my wife. I was like, “Hey babe, how was work? Okay, funny story. There’s this actress – well she’s an adult actress…” (laughs) I’m just trying to kind of like sell this in and my wife is very busy at her job. She’s pretty high up in her career and as a result she is very much in demand. And she’s just like, “Yeah. Wait. What are you saying? You're going to the aquarium with some porn star? You're going to bring the kids? Yeah, that’s fine. Just bring the kids.” I was like, “Okay.” And she was like, “I gotta go. Bye.” The next thing I know we’re driving 95 miles an hour down to the aquarium. It was cool. But you know, she turned out to be super awesome and we have just always been friends ever since.

Where do see your Nihilist Arby’s twitter account going at this point?

It’s kind of weird when like something you do is kind of a one-off stupid joke becomes sort of like a cultural touchstone for a brief period of time. What am I going to do with it? I don’t know. I just thought it was a stupid joke. I didn’t expect anyone to ever look at it. And now it’s been quote in headlines in the Washington Post and shit. It’s crazy how much a part of like the immediate cultural fabric it has become. It’s really astounding to me and I wish there was a way to monetize on it, you know? (laughs) Now there are some people who think I’m very dark and morbid.

Well Brendan thanks for taking the time to talk. Is there anything else you want add or say to the Punknews readers/commenters?

Thanks to everybody that has come out to see us – The Falcon and The Lawrence Arms and me in any capacity. I feel like Punknews has been such a part of my career for so long now, I feel indebted to the readership and the staff there. So thanks to everybody – really. And please, if you haven’t listened to The Falcon record, fuckin’ listen to it. The internet makes it so that you can do that for free now, so just listen to it. It’s a cool record. And please come see us on the west coast and at Punk Rock Bowling. And to those Euros out there – we’re trying to get out there as soon as possible, too. Thanks! Keeping coming back and we’ll keep coming back.

6/10Asbury Park, NJPunk Rock Bowling
7/5Las Vegas, NVBeauty Bar (w/ The Copyrights, Sam Russo, Mikey Erg)
7/6Phoenix, AZPub Rock Live (w/ The Copyrights, Sam Russo, Mikey Erg)
7/7Albuquerque, NMLaunchpad (w/ The Copyrights, Sam Russo, Mikey Erg)
7/8Denver, COMarquis Theater (w/ The Copyrights, Sam Russo, Mikey Erg)
7/9Salt Lake City, UTKilby Court (w/ The Copyrights, Sam Russo, Mikey Erg)
7/10Boise, IDThe Shredder (w/ The Copyrights, Sam Russo, Mikey Erg)
7/11Seattle, WAEl Corazon (w/ The Copyrights, Sam Russo, Mikey Erg)
7/12Portland, ORAnalog (w/ The Copyrights, Sam Russo, Mikey Erg)
7/13San Francisco, CABottom of the Hill (w/ The Copyrights, Sam Russo, Mikey Erg)
7/14Fullerton, CASlidebar (w/ The Copyrights, Sam Russo, Mikey Erg)
7/15San Diego, CAKensington Club (w/ The Copyrights, Sam Russo, Mikey Erg)
7/16Los Angeles, CATroubadour (w/ The Copyrights, Sam Russo, Mikey Erg)
9/16Chicago, ILRiot Fest