by Interviews

When you think of the future of music, you'd better be thinking of Thotcrime. The four-piece are constantly innovating and pushing cybergrind to new heights. They blend influences like hardcore punk, PC Music, hyperpop, mathcore, and so much more together on their upcoming album D1G1T4L_DR1FT which will be out October 28 via Prosthetic Records. But just when you think you have their sound figured out and pinned down…BAM! It's time for a samba break. It's time for a section reminiscent of Faith No More. Punknews news editor Em Moore caught up with guitarist Malady Jane and drummer Dot Homler over Zoom to talk about their new album, the cybergrind scene, the importance of collaboration, creating chaos, and so much more. Read the interview below!

You recently signed with Prosthetic Records and your upcoming album D1G1T4L_DR1FT will be your first release on the label. How did you choose who to sign with?

Malady Jane: Actually they came to us first. I honestly didn’t really even think about, “for our next album we should try to hit up some labels” or anything like that. But Steve Joh from Prosthetic, he had been following one of the other bands that we had done a four-way split with last year and he told us that he had checked out all the bands that were on that split and was really impressed with us. So we started talking about signing.

Dot Homler: I don’t want to speak for the entire band but I think for pretty much all of us it was like, “this is our fun little cybergrind project, this is a surprise. Ok, let’s go!”

Malady Jane: Absolutely. It was like, the label that put out Lamb of God and Animals as Leaders wants to release us?

Dot: Cybergrind? Alright, let’s go.

There you go, tour opener for Lamb of God.

Dot: We’re manifesting, we’re bringing it into being.

What has it been like working with the label so far?

Malady Jane: I would say it’s definitely been different than what I’m used to. I've never really done a release in this capacity before. Honestly, leading up to the announcement and everything I didn’t know what to expect but so far everything has been pretty great. They’ve done a really good job. I think they definitely understand what we’re about and what we’re going for and they don’t really try to impose any creative restrictions on us. Once we signed they were like, “ok, send us the masters when you’re finished with the album!” Then we kinda went from there. When we submitted the masters there wasn’t any, “oh could you change this and this and this” they were just like, “cool, let’s start talking about production”. So far I have no complaints.

Dot: Same here. This has pretty much just been a learning experience for me too. It’s a direct 180 from what I’ve done before. I’ve played in bands before, I’ve done shows, done some little home cassette releases but it was all just pure DIY, just doing it for fun. So it’s a completely different change of pace with being on a label and having them promote us and talk about us. But like Mal was saying, it doesn’t really feel like our process has been imposed, if anything it’s been supported. They see what we’re doing and they’re on board for it. We’re definitely out of place on the label in a really good way and it seems like they’re giving respect to cybergrind, I guess. As silly and goofy as it is.

It needs more eyes on it. I didn’t know anything about it and then I heard your first album øny​ø​urc​ø​mputer and I was like, “holy shit! This is awesome!”

Dot: Just watching the whole Big Money Cybergrind movement just come to life was really surreal in a fantastic way. [laughs]

Malady Jane: Yeah, absolutely. You mentioned øny​ø​urc​ø​mputer and it is just crazy how that album just snowballed. It was originally just a side thing and then the pandemic happened so none of us were really doing anything else. We were pretty much doing the classic DIY band thing of, “oh, this song’s done. Put it out there right now!” Once the record was done we tossed it out in the ether and showed it to all of our friends and posted it in random Discord servers and Facebook groups and it kinda took off in a way that I don’t think any of us really expected.

You have members in Illinois, Pennsylvania, and the UK. How did you all find each other? How does the distance affect the dynamic of the band?

Malady Jane: Originally it was just me and K [Salmon, producer]. I met her on Discord. So we were acquaintances and then I was like, “hey, I want to do a cybergrind project. Would anyone want to do that with me?” She was the one who jumped at it and she just happened to have a lot of major production and engineering chops. Then after a while of tossing stuff back and forth we ended up attempting to find a vocalist. I just kinda threw out, “hey, who wants to be our singer?” on Facebook and Hayleyy [Sparxx, vocalist] was the one who responded and we liked how she sounded so we brought her in. Then I think either immediately before or a little bit after we dropped øny​ø​urc​ø​mputer, Dot - who I’ve known for quite a while, we’re both here in Illinois, we exist in the same scene, we’ve played a lot of shows together - came in.

Dot: I don’t think we’d been in a project together before that point. Aside from maybe that one improv jamming workshop with Weasel Walter but I don’t think that really counts. [laughs] So this was the first, “oh we need to actually do a thing together”. Drums were the first instrument I learned and the thing I’m still the most technically proficient on. I cut my chops in emoviolence, grindcore, and powerviolence bands - a lot of blast beats. But I hadn’t been able to play as much between not having a place to practice and any band opportunities with the pandemic. Since we’d gotten to know each other more, when the opportunity came up I was like, “I can not only get back into drums but also write parts that even I can’t play. Let’s just cause even more chaos!” So I jumped into the mix once they got that framework going and made it more chaotic from there. [laughs]

Malady Jane: I remember you had been sending me and Hayleyy these cool, Dillenger-y mathcore drum bits that you just were messing with.

Dot: Yeah. I had just started to get into Reaper and drum programming so I was just like, “what can I even do?” Then I’d write the most obnoxious parts possible and just send them to you.

Malady Jane: I remember being like, “I mean my drum programming is competent but I can’t do that. Do you wanna be in Thotcrime?” [laughs] But I would say as far as dynamic, I think the biggest challenge is just making sure everyone’s on the same page because aside from the geographical distance, we all have our own stuff going on. Obviously the band is a pretty decent priority for all of us but we still have to juggle personal lives and professional lives and so sometimes it can be a challenge to keep everybody on the same page about stuff. But I would say all four of us have really good chemistry as a group and we all like each other which is important. I think we all have the same kinda goal in mind of making sure everybody is on board with whatever decisions are being made. We all try to keep it so there’s nobody strong arming everyone else into stuff.

Dot: Yeah. I know when we were talking earlier about the different influences and the four of us all coming from different directions, it does feel like we manage to stay on the thread pretty well. Like we’re never saying no to any idea 100% but whatever any of us brings to the table, there’s just completely open ground where we’re not committing to being like a “Cybergrind ™” band. Like do you want to do a PC Music pop song? Yeah, absolutely! Want to do a weird samba break? Yeah, put it in! Wanna do some butt-rock parts? Yeah, totally! Just committing to making Thotcrime a good thing for all of us.

How would you describe your songwriting process?

Malady Jane: I remember that Pitchfork article that came out a while ago about 100 Gecs where they talked about their production workflow and how one of them will write up something and then toss it to the other and they’ll put it into their DAW and mess around with it and toss it back and they keep going back and forth like that. I remember that stuck out to me because of how similar that is to how me and Kez do stuff. Recently Dot and Hayleyy have started getting more involved in the writing and the production and everything, but it’s still a lot of me and Kez being like, “here’s a riff. Cool, I could write another riff over that” then just going back and forth like that. Then Hayleyy will be like, “hey, I could put a breakcore section in the middle here” and then Dot will be like, “what if I put a samba break in the middle here?”

Dot: A lot of times I like working within the framework of something, when it’s already a bit set up. I’ll find a demo, jump in, and once that's got an idea of riffs and structure then I’ll be like, “how much farther can we push this? This is a chill little break between these two parts so what can I put in that’s completely unexpected here? Maybe a little weird samba break.” Or like, “This is a really cool breakdown. Maybe I’ll do a really annoying over the bar line like with China cymbals just to make into this tech-y car bomb nonsense”. There are a lot of parts on the new record that are in 4/4 but good luck. [laughs] Just let the ideas bounce around until it all naturally feels complete.

Malady Jane: I like a lot of very punk and grind and hardcore kind of stuff and Kez is very into melodic death metal and djenty stuff. So in a lot of ways we come from very different backgrounds and I think that kinda keeps it from becoming, “oh, this is just Pendulum worship” or “oh, this is just Orchid worship”. It keeps it from going too far in either direction.

Dot: It ends up floating somewhere in the middle of all of our influences which is where my favourite stuff always tends to be.

It’s kind of like a quilt. Like here’s hardcore punk, here’s hyperpop and PC Music, and here’s Faith No More. Dot: Patchwork cybergrind.


What were you listening to during the writing and recording process?

Malady Jane: I know for the first one it was very much like the whitebelt grind / scene grind, whatever you want to call it, bands like The Sawtooth Grin and Duck Duck Goose. I think for this one I was actually getting really into a lot of electronic stuff, specifically pop in the vein of Sophie and Charlie XCX and A.G. Cook and electronic stuff like Danny L Harle and Machine Girl. Then figuring out which I really like, like hard-syle, hard dance stuff and kinda diving in that area. I don’t really do a lot of digital production. I don’t really have a lot of experience making that kind of stuff. So I would say the influence that probably made it the most onto the record would be that slightly off-the-wall grindy stuff like Discordance Axis, Gridlink, and Cloud Rat. Wormrot was a big one for sure. Just any grindcore that pushes the formula in a weird way.

Dot: I know we all pretty much have a mutual appreciation for Sass, the Blood Brothers, and your classics. So anything that’s not true to the genre, anything that’s a little bit weird, a little bit artsy, just having fun and messing things up. Definitely in line with that flavour of grindcore which I feel like that’s kind of a collective thing for us.

Malady Jane: I think there’s very few genres that are enjoyed by all four of us. I think one of the few things that I could confidently say that all four of us like is J-rock and J-metal. I think that to some degree that influence comes through to some degree on this record. And in some of the stuff that we’ve been working on since then, it’s come through even more I would say. I’m pretty much constantly finding new stuff to listen to and then adding it into my, “oh what if we did a thing like that” list in my head.

Dot: A very important “what if, ha-ha jk, unless…” pile.

In keeping with the songwriting theme, on your previous album and on this album you have very creative song titles. On this album some of my favourites are “This Isn’t Foundation, Now Give Me Your Skin Please?” and “4V3R4G3_TU35D4Y.exe” which is written in leetspeak. How do you come up with the song titles?

Dot: We have an entire song titles channel on our Discord which is just constantly being flooded by us making up bits or posting funny lines taken out of context from something we’ve watched. Again, I think all of us have a mutual appreciation for the bands who were doing this like Fall Out Boy - just the whole bubble of wacky, MySpace songwriting, stupid, over the top song titles that have nothing to do with the song. [laughs] It’s always really fun to make whatever funny jokes we currently have going on into song titles. But also now working them more into the theme of the album like that one in leetspeak, getting that wacky irreverence while still tying it all into the theme as a whole.

Malady Jane: When it comes to the proper album release we definitely try to incorporate if not an actual line from the song itself, then something reflecting the feel or the theme of the song. I might say to Hayleyy, “do you have any title ideas?” because she’s usually the one who writes the lyrics. When we send midis back and forth we always have some kind of goofy thing just to name the file something and sometimes that’ll end up just being the song title. I think “Motherfucker Unlimited” was like the working title that Katie [Davies, Pupil Slicer] had for the lyrics that they wrote for their feature and they were like, “that might be too silly for the album” but we were like “no, that’s cool, that’s funny. We like it!” [laughs]

Dot: If Portrayal of Guilt proved anything with CHIRSTFUCKER we just need to lean into it at all costs.

Malady Jane: Exactly.

Dot: I don’t remember which song it was exactly but I think for a while we just had “Spelunk.midi” as one of the LP2 tracks.

Malady Jane: Yeah. I was reorganizing our Google Drive folder the other day and I found some random folder that had some files that had all the old working titles of all the tracks from the album and it was fun going back and seeing the goofy stuff we were calling them.

What was the goofiest?

Malady Jane: Oh my god, I don’t even remember. Just like random onomatopeyas or weird phrases.

Dot: Some somewhat unpublishable Beavis and Butthead tier jokes.

D1G1T4L_DR1FT features collaborations with Aki McCullough of Dreamwell, Diana Starshine, Carson Pace of The Callous Daoboys, and Katie Davies of Pupil Slicer. How did you decide who to work with?

Malady Jane: Most of the time we have a lot of friends who make music and inevitably when we’re talking it’ll lead to a conversation like, “oh hey, what if we did a song together?” Sometimes one or both people end up being busy but other times it’ll actually manifest. The Callous Daoboys are a band that I’ve admired for a really long time and at some point last year they posted something on Twitter like, “hey, have you heard this Thotcrime band? They’re awesome!” So I naturally immediately went like, “do you wanna do a song with us?” Aki is a friend of Hayleyy’s so that’s where that connection came from. Then Katie was somebody I had met on Discord long before Mirrors by Pupil Slicer blew up or anything. We were in this mathcore shitposting server and they were like, “oh hey, I love Thotcrime! I’m in a band too by the way”. When we realized that we were both Prosthetic bands and both made music it was like, “we have to do something together!” Diana is also a very good friend and I thought it would be really cool if we got somebody outside of the heavy music sphere to work on a song with us.

Dot: Especially since we were just kinda pushing toward that direction, not even trying to push it but just out of a natural interest and wanting to explore those more pop, PC Music ideas so that collab just turned out super well organically. Same with the rest really. It was a blessed moment being able to work with such cool people where we appreciate their work and they appreciate ours and it was just a cool feeling, I don’t have the brain words for it.

How did you notice the songs change with each new guest vocalist?

Malady Jane: That’s a really good question. There were a few where we had essentially a working vocal demo with just Hayleyy prior to adding guest vocals. As long as we’ve been doing this I had plenty of moments where we had an instrumental finish and I was like, “maybe this one’s not to our standards” but then Hayleyy will put vocals on it and I’ll be like, “oh nevermind, this rules”. “This is My Breakdown, I Get to Pick the Music” in particular, I don’t ever recall ever feeling iffy about that one. I’d gotten used to hearing the one that was just Hayleyy and then once Carson recorded their parts it took it to another level.

Dot: We got a lot of good call and response action going on.

Malady Jane: Yeah.I think that one especially brought it to another level especially that one bit where Carson lets this one scream devolve into random vocal yelping.

Dot: I don’t want to speak for K but I think they weren’t quite sure what to do with that and just ended up adding reverb and letting it echo out in this awesome way so it just kinda blended into the songwriting process. It’s really cool to hear that mixed in there. It’s not just a track with guest vocals but it’s all of it really coming together and us and them working on one track with all these parts.

Malady Jane: Yeah and I obviously like the song itself. Like with “Motherfucker Unlimited”, the song itself is really cool but I particularly love the little banter that Kaite added at the start.

Dot: Yes! [laughs] It’s just so fun.

Malady Jane: I think when people hear that, they’re going to get the light-hearted attitude and Kaite’s vocal style in contrast to what they did on Mirrors. It is going to be kind of a shock in a good way.

Dot: That was one in particular where I did the drum parts and I’m actually not sure if they got their vocals recorded before or after I tweaked the drums for that song. I think I got that one done earlier in our process but that had a straight up 4/4 rhythm section that I just destroyed the timing and bar line on to the point where I was like, “oh is this going to be too much? How are they going to do the vocals?” But then it just turned out just so unbelievably sick.

I love Mirrors and then hearing this completely different side on “Motherfucker Unlimited” was so cool!

Malady Jane: I remember Katie saying something like, “I totally forgot how I even did the vocals on Mirrors”.


Malady Jane: Sometimes that’s almost how it feels. You don’t even know what came over you when you were writing or performing something.

On your first album øny​ø​urc​ø​mputer you also have a good amount of guest vocalists. What is the importance of collaboration to Thotcrime?

Malady Jane: I think it’s a big part of this project, at least for me, because I have always been somebody who really enjoys making music with other people and finding myself in this community full of musicians who I really admire and whose output I really enjoy. There’s too many people who I would love to do something with if I got the chance so naturally if it’s somebody I’m friends with we’ll inevitably end up asking them, “hey do you want to do a song together?” And if it’s somebody I’m not as acquainted with I might just kinda shoot my shot or if they offer I’ll be like, “yo, absolutely”.

Dot: And what’s cool about working with other people is the ideas that get brought in. Generally working with other artists gives us the ability to not just work with them but be influenced by their ideas and have them be influenced by ours. So when we come together on a track you get the influences that wouldn’t have been there in any other situation. We’re trying to sound a little bit more like the band that we’re collabing with and if they’re doing something like Katie with trying a different vocal style then they get into a little bit more of a “Thotcrime sound”. Plus with Thotcrime, being a collaborative project from the start anyway, it’s just kinda been baked into the DNA of how this band works. It keeps it fun and good for all of us.

Malady Jane: 100%. I totally agree. I was also going to say one example of the artist we’re collabing with bringing their own sound into it was when we did the track with Blind Equation on the first record [“Dead + Dreaming”], we asked him to write a synth part to go along with the instrumental we’d written. I think that chiptune synth mixed in there really brings the Blind Equation sound into the song even beyond James doing vocals.

Dot: Before Thotcrime was even a band, when I was still a baby just getting into DIY punk shows and being at these serious black T-shirts, arms-crossed emoviolence shows, I remember James just showing up to do a Blind Equation set solo with vocals and backing tracks. It was the fucking sickest thing. I was like, “oh, this is just fun and silly. Yeah, I need more of this!” And years later that influenced our friends.

Do you have a dream collaboration?

Dot: I mean, I’m probably just going to say it - Nine Inch Nails. They’ve been my favourite band since I was a kid and I know I’m not the only member of Thotcrime who loves them. Since we’ve been getting more into the electronics, the synths, the sound design, and the more electronic world that our stuff kinda lives in, Trent Reznor’s production, tones and the distortion he makes blows me away. His songs have always been unbelievable to listen to. Not even to go into his songwriting which breaks my heart et cetera. So yeah, that collab would be unreal just to see and try to imagine what that would even sound like.

Malady Jane: I feel like this was a good question for me because there are so many people that I would love to work with that it’s almost hard to give just one answer. I’ve been an Against Me! fan for quite some time and ever since hearing Laura Jane Grace on the record from a few years back I’m like, that would be a really fun, cool collab.

Dot: Yeah, please, please.

Malady Jane: And then I think about how we’ve experimented with trying to replicate the whole PC Music thing and I feel like the logical conclusion to that would be Thotcrime and Charlie XCX. [laughs] Plus I feel like that combination of names would be such a left-field thing.

How would you describe the cybergrind scene online and then in your local scene?

Dot: The local scene might just be us practicing.

Malady Jane: Yeah.

Dot: I know James has been doing a lot more with Blind Equation around Chicago and that area where I’ve seen some shows going on but I don’t know if I would say there’s much of a scene here. And disclaimer: I have just kinda been in my apartment working on music and stuff so I have been aggressively out of the loop with the scene. But it really does just seem like it’s an online born and thriving thing. It really does seem like Big Money Cybergrind is just heading that movement, that Discord server and everything.

Malady Jane: Yeah, definitely. I would say as far as Dot and I’s local scene it’s pretty much us and Blind Equation holding down the cybergrind thing. Centered around Springfield there’s a pretty strong hardcore scene and I’m actually in a band outside of Thotcrime that’s a little bit more on that straight up hardcore vibe with some of those people.

Dot: Shroud rules!

Malady Jane: Yeah! They’re all cool and very receptive to the cybergrind thing even if it’s not really their bread and butter. James from Blind Equation plays in a band with some of them too. We’ve shared bills with some of those more serious hardcore bands.

Dot: The blackbelt hardcore and whitebelt hardcore distinction.

Malady Jane: Yeah. I would say on the East coast there’s definitely a little bit more offline cybergrind happening. Hayleyy does shows herself out there as Thotcrime and she has done some stuff with ZOMBIESHARK! and Silithyst. Bubblegum Octopus. I think there are a couple more artists out that way. But it’s like Dot said, however much there might be going on as far as shows are concerned there’s even more cool stuff to be found online. Which kinda makes sense. I think there are more and more artists who are trying to bridge that gap and figure out shows. That’s something that was difficult for us and I think it can be hard to bring your internet project into the real world.

Dot: Especially because there is a little bit of a gap to entry versus punk bands who are like, “guitar. Crappy distortion pedal. Let’s go!” But now it’s like, “what gear do I need to do electronic blast beats live? Synthesizers?” The electronic gear setup is definitely a little bit less accessible, I think it would be somewhat safe to say. But then I think that’s where the online version of cybergrind has been thriving with bedroom projects and Discord servers where everyone is collaborating with everyone and sending stuff back and forth. But we’ve managed to figure out our own scrappy, punky, guitar, distortion, and bass version of live Thotcrime as we’re all still working this out together. So it’s kinda like cybergrind finds a way. [laughs]

What can people expect when seeing a Thotcrime live show?

Malady Jane: The answer to that question kinda depends on where in the country you live. [laughs] So out here with me and Dot we’ve been assembling our little scrappy not as electronic-heavy version of the band out here. Once we started getting offered more and more shows in our neck of the woods we sort of assembled a little band. Obviously I play guitar and Dot plays drums so that was enough of a rhythm section and then my brother is a vocalist so I asked him to be our live vocalist for shows out here. We had a friend of mine who I used to play in bands with, playing bass with us for a while but the whole trying to juggle personal life with the band thing happened. So we’ve been talking to different people. We were talking about having my friend who does synth stuff and plays cello maybe programming all our bass lines into her synth setup and running that live with us to kinda fill out the low end. And in Philly Hayleyy’s been doing the whole vocalist-with-a-backing-track type shows and occasionally having our friend Tyler who plays bass filling in. So it’s definitely just taking whatever members we have at any given location and filling in with whatever we need. I don’t think Kez has done any shows out in England but she’s talked about running a DJ set type thing with some of our songs using Ableton and maybe even doing some live remixing.

[Dot’s Zoom cuts out]

Malady Jane: We lost Dot.

Just when everything seemed to be working really well.

Malady Jane: It seems like technical difficulties are inevitable.

Do you have a lot of technical issues when you’re all writing?

Malady Jane: We don’t do a lot of everyone getting on a call and working on stuff together. It’s more like dropping a file and working on it individually and then sending something else back. I think it gives everybody more time to sit with stuff and come up with ideas too. Also it can result in stuff kinda getting lost in the sea of midi files but every now and then one of us will pull something up and be like, “oh hey, remember this? What if we did something with this?”

When you’re playing live you’re playing what you programmed digitally on a real guitar. How do you translate that?

Malady Jane: With the newer songs it’s a little bit easier to do that because once it became apparent that we were moving in a real band direction I was like, “well, let’s write this as if it was for drop C guitar”. Whereas with the older stuff it was just throwing notes on a piano roll, so those have been a little bit weirder to rework. But I think I’ve been doing my best to adapt what we’ve written to what makes sense from an ergonomic perspective and then adapting to my skill level. I wouldn’t say that I’m a bad guitarist, I’ve been playing for a really long time, but I definitely have been more in the punk and hardcore world then the math and metal world so it’s been kind of a shift. It’s taken some getting used to but I’ve been working on technique stuff. Actually just a couple weeks ago I started taking guitar lessons for the first time since I was in high school. My goal for the next record is to actually have live guitars fully recorded for the whole record. There’s a couple of spots on this one where we tracked real guitars and that was my goal for this record but we ended up with such a time crunch that it just wasn’t feasible to learn every part and get it up to recording proficiency and then record it. The midi guitar thing worked the last time so we rolled with it again. We’re kinda working ahead on the next record so hopefully I’ll have plenty of time, especially working more with technique stuff and I’ll be able to knock that out.

What are you listening to now?

Malady Jane: Always so much all the time. I would say the two records the past couple of weeks that have been on the heaviest rotation for me have been the new Callous Daoboys and the new Chat Pile. Both of those are really, really good records. [laughs] I’ve been kinda going back and forth between the heavier stuff. I really liked the new record by Cloud Rat and I love Frontierer and Discordance Axis and stuff like that. I’m also listening to a lot of uptempo hardcore, hard-style speedcore kind of stuff. I really like Lil Texas. I really like Water Spirit. I like Machine Girl a lot and a whole bunch of Japanese speedcore artists that just throw huge gallery kicks at you at preposterous tempos.

I haven’t checked out the new Chat Pile yet, I need to.

Malady Jane: Yeah, that record is just so good, so nasty. Definitely one of my top albums of the year. The new Momma record is also one of my favourites that’s come out this year. It just came out on Polyvinyl, really good Veruca Salt-y neo-grunge kinda stuff.

What’s next for Thotcrime?

Malady Jane: We’ve already been making pretty good progress on our next record. It was originally like, “well we’re done with all of these obligations we committed ourselves to so now we can just kinda have fun”. Then the demos just kept piling up and we were like, “ok, of all these demos, these ones kinda sound similar enough that they could work as an album” and then we kind of started adding more that fit into that sound. So we’ve been talking about who we’d wanna have do guest vocals and working on writing lyrics. We also have a bunch of other miscellaneous tracks, some of which we have plans for and others we’re just kinda waiting for the opportunity. I think last year with all of the splits we put out and everything it was a thing where we said yes to all these splits and then had to scramble to finish all of those and the album. So going forward my thought process is before we say we’ll do splits or compilations let’s actually get the tracks done so that when people come to us we can be like, “oh, funny you should ask”. [laughs]

So is one of the things that’s going to be released the “BYOB” cover?

Malady Jane: [laughs] Yeah, I definitely want to make sure that sees the light of day. I’ve been procrastinating it because working at getting the licenses and everything can be kind of a headache and I haven’t really had much experience working that out. I think with DistroKid you can pay them to take care of the licensing. Once it’s far enough removed from the album that we’re not accidentally self-competing, I’ll toss it up there.

That’ll be cool too! I’m looking forward to that.

Malady Jane: That one was funny because I think two years ago somebody invited us to be on a nu-metal cover compilation and we finished that entire song and then the compilation didn’t end up happening. So we have this track and some day the time will be right to put this out. Next year hopefully.

Korn 2.

Malady Jane: Yes! Oh my god. After that tweet took off, somebody sent me this screenshot of an article that was like, “can I name my band The Beatles 2? I would like to name my band The Beatles 2 and want to make sure I will not get sued or killed if I call myself this.”

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