Podcast Transcript

Speaker 1: Taking a Walk.

Eugene Hutz: You know, I come from a very musical family, so I’m spoiled and ruined and that’s regarded. I get in through the back door, you know. I walked in into my father’s band rehearsal and thought that that’s just how things are. There’s a drum set and there’s an amp. In that sense, Ukraine wasn’t any kind of you know, a third world country that didn’t know how it goes like now, like I grew up to, like my dad rehearsing like door songs.

Speaker 1: Welcome to this episode of the Taking a Walk Podcast with your host Buzz Knight. Buzz’s guest is Eugene Hutz, a Ukrainian singer and composer and the frontman for the hardcore punk band Google Bordello. Joined Buzz and Eugene next on Taking a Walk.

Buzz Knight: Well, I’m Buzz Knight. I host the Takin a Walk podcast and we love having in person walks, but from time to time it’s virtual. So we’re gonna go to the virtual Taking a Walk hotline and special guests enter and sign and please.

Eugene Hutz: Oh hello, thank you for having me. I’m Eugene Hutz. I’m the lead singer of gogol Bordello songwriter you know New Yorker over the last twenty five years.

Buzz Knight: Well, you are a man of diverse interests that we’re going to hopefully touch on that. But most importantly, first I want to find out how is your family in the Ukraine.

Eugene Hutz: You know, people are holding up all right. I mean it’s it’s kind of almost you know, impossible probably for a lot of people to imagine this situation, but Ukraine people are pretty resilient and stoic on their historical hard drive. It’s just things went in such a way that they build up these traits, you know, and that comes to its full service right now. You know. It’s just absolutely mind blowing what they could adapt to and how they persevere through it, including my family. It’s just quite large back there, you know. So it’s important to stay in regular touch, you know, and let them know the world is thinking about them and concerned with the same things you know with them.

Buzz Knight: Is there ever a moment where you feel they’re giving up?

Eugene Hutz: Hope? No, that’s just something not on Ukrainian hard drive, you know. To put it in one sentence, it’s nobody in Ukraine was you know, brought up with a silver spoon and people who do well, they earn it. And there’s a lot of you know, just down to earthness about it. Down to earthness and unwavering optimism, you know, which I know from my very own family very well. You know, because you oftentimes, especially being a transplant and an immigration, which is nothing in compare lison to the war, you know, but that is still getting uppruited and tossed around and carving out a new place in a new culture. It still requires quite a degree of that, you know optimism. Is there some kind of genetic optimism? Yeah?

Buzz Knight: Tell me about your last trip there.

Eugene Hutz: Well, this was just on September. I was able to visit twice since the beginning of the war, which is less regular than usually. I’m there every year. Well, I mean this is also technically every year. But it’s just h yeah, you know, it’s it’s important to get there and if you have capabilities of getting there and and just spend face to face time, you know, because people there they know that, you know, world supports them and and but it’s different when they see it face to face that people can’t you come there and you spend time with them, and it’s not by any means normal what they’re going through. But there’s a lot of layers of life that people just manage to be normal. Of course, there’s air raids and sirens and all that right now, but it’s it’s a very different kind of war. I mean, you get app on your phone that warns you about air raid fifteen to twenty minutes ahead of time, and you go to the shelter or don’t. You know. I’ve seen people just wave that and not really you know, comply to the sheltering. But I think they should definitely should. If they can’t, you know, it’s it’s kind of amazing for them to master yet a flow of life, you know, doing their work, doing their studies. People continuing with what they do, you know. I mean, academics keep working, you know, fashion people keep designing, you know, and you know, musicians keep playing. Of course, it’s in a very transformed a lot of times kind of unannounced and undisclosed locations. I mean even when I played there, you know, and the concerts were basically unadvertised and let no word of mouth, and a lot in like two hours before that happened. You know, Just things like that.

Buzz Knight: You know, tell me how you got connected first to music.

Eugene Hutz: You know, I come from a very musical family, so I’m spoiled and ruined in that regard. I get in through the back door, you know. I walked in into my father’s band rehearsal and thought that that’s just how things are. There’s a drum set and there’s an amp, so you’re looking at it, you know, in that sense, Ukraine wasn’t any kind of uh you know, third world country that didn’t know how it goes like now, like I grew up to, like my dad rehearsing like doors songs, you know, so like you know, and in fact, and then it was that underground activity and wasn’t bey means and he couldn’t have any kind of career out of that. So it was a work of passion. And my father and his brother who’s a painter, Mihailo he they had a lot of influence in me. Just I kind of downloaded all their hipster accomplishments, you know, as I as I appeared into the cradle, you know, just next to my crib was standing and my dad’s you know, a track recorder with you know, beatles and rolling stones and doors and uh shugis Velvet Underground and yeah, I know all the good stuff that wasna the craft work.

Speaker 1: Like.

Eugene Hutz: They were just so ahead of time that when I got into punk rock years later, you know, and some on some party finally, like some some punk rock kids who were like older than me, a little bit like my kind of sages, they were like, yo, forget all this like hardcore stuff you’re listening to. This is the new stuff. This is like and they played kraft Work. I was like, oh my god, like that I heard it. I was like three years old, you know.

Buzz Knight: I only remember that one song by them, Autobahn.

Eugene Hutz: Yeah, well it’s a great song, but it’s just such an influential band, you know, that wrote the whole bible of new aesthetic and of minimalism, and you know went on to influence like Joy Division and all the bands that came out out of Joy Division. You know, just highly influential bands. But I think that that comes kind of from frequenting on my dad’s rehearsals, which was not his main profession. That’s, as I said, work of passion, but also a pain the studio, you know, my uncle. You know, just so we’re just guys with like long hair and dirty pants were like covered with paint and you know, just just like smoked a lot and you know, had a fireplace, melting glass in the studio and blasting like some crazy ass broad rock you know, you know, like playing like King Crimson. And you know I was like, yes, I was like, you know, I was like, that’s the good hang.

Buzz Knight: You know, sounds great.

Eugene Hutz: Yeah, I mean it wasn’t like all the time. It was kind of a sacred place that should go a few times a week. But I was familiar with those places and it was a home for me. So you know, that went on to become more of a home for me.

Buzz Knight: Leader tell me about the origins of the band, Go Go Bordello and explained to the audience the background, you know, why the name of the band. It’s important, give them, give them the lowdown.

Eugene Hutz: Yeah I can do that. I mean, over the years, I kind of I get to know how to put this book into three sentences.

Buzz Knight: Oh, come on, we’ve got time. If you’ve got time, Yeah, all right.

Eugene Hutz: So it doesn’t have to be three sentences. Here we go. I guess kind of like did the kind of extra eccentric punk rock genre that’s we kind of known for, you know, the so called gypsy punk is the word out there on the street to to describe the band. What does this mean? I mean, this was kind of actually very pretty loose term for a very ambitious new kind of punk rock that we were set out to originate in the very beginning and you know, turn onto centary time was, you know, around two thousands. By the time, I was already playing numerous punk rock bands, hardcore bands, electronic industrial band and some experimenting with all those things, you know, since I was a baby, and I just felt like, Okay, I think that I think punk rocket is an amazing thing with all this diversity, but it kind of seems like it’s running out of steam. You know, what else can we infuse it with. And on a parallel note, I guess some my kind of nostalgia or where it came from, where that all those melodies of that old world magic were kind of boiling up to me. You know, I was like, already it’s been some years since I left Ukraine, and I kind of start really jonesing for these melodies, you know, just they were running through my veins. I mean, I was born and raised in a place outside of the Kiev, which was populated, I mean Sholoma Lake and wrote the Tevie the Data Man, which is the Fiddler of the Roof proto story in where I was born and raised in Boylka, just fifteen kilometers outside of Kiev. So that’s a place where the very unique makeup. There’s Romani population, there’s Jewish culture and traces of all that, like deeply seated melt down of you know minorities, you know, roman Age, Jewish, you know Ukrainian. It’s not a village, but it’s not a suburb of Ei there. It’s just like this unique town. They’re still a whale to get water from, but it was more on comparatively modern side by the time, hanging out and there. You know, it’s just kind of really left impact. Those were my essential childhood memories, just going down a dusty road, stumbling into a wedding that people are having, having a band play, going into that wedding, you know, being treated as a you know, as a regular because I live around the block. When I was like five six years old, like doing my Tom Sawyer hackeled very finn activities basically, and so that kind of start subconsciously, I guess at that point jonesing for recapturing that, and I thought, wow, you know, I have all this collection of gypsy music that I’ve been collecting over the years. I need to start putting that in andto my music. I need to start melting this into this one retro futuristic vision. And the one thing that really helped me out with that is that I met here in New York City. I scouted out. I mean I went after that. This was not accidents. I like went after these people after Sergey and Uri are amazing, you know, virtoso players who were were virtuous. Was like, it’s nothing that you meet too often in punk rock world. You know, guys with classical training, finished conservatory, and you know, once I got them on a Google Bordella train, we became unstoppable because we had that unique vision of this retro futuristic gypsy music inspired punk rock with all those elements from early punk and hardcore to classical music and everything in between. You know, that’s really the kind of the genesis. Since you maybe more than a few sentences to describe there it is. There’s the matrix, it’s beautiful, yeah, and then the huge cut onto it. You know, in New York City is a very receptive place. People know it when they see it. They have a very great taste here. And in particularly, we were embraced by scene that was kind of art punk scene and post punk, which was pretty massive at that time. So our bringing you years were, you know, playing with bands that were like Speedball Baby and Donga Dan and Heroin Chics with like people from Swans and just like really really all that New York Lower East Side art good stuff that speaks through music. You know, that was our scene.

Buzz Knight: So I know when you first came to the country, you first went to Vermont, but ultimately do you feel there was something kinetic that was driving you to New York City?

Eugene Hutz: Oh? Yeah, I was set on going to New York City. It was perhaps for the best that I went to Vermont first, because I mean I didn’t speak any English, and yet back then it was kind of a gateway, you know. I mean I would find my way around New York City as well, because where I grew up in Kiev, moved to Kia when I was five years old with my family. It was not so different from like growing up in the Bronx. Now that you know, I know the city well, you know, it’s just like similar, you know, desolate the outskirt with a lot of project buildings that looked kind of unfinished because they were unfinished actually, you know, I mean the whole Soviet economy was so idiotic. It was just hustled, and it was so correct mean, it was still covid Tunion back then, so it was so corrupted that they would have people moving in into unfinished buildings with like no windows and you know, like, yeah, it’s ready to go, move in and put in your own windows, you know. And then you know, people would move in and put in their own windows, and the building was you know how unfinished buildings looked unpainted, there’s no tiles, and then you know, the corrupted government was just like, okay, well they’re already living in there, so what the fuck they like it? So I guess we don’t have to really put the tiles in or painted, you know. So you’ve just been living and just kind of how is that that? You know from the get go, from the get go, looked like ghetto, you know. And now the district in Kiev is called a belong is considered to be like actually wanted the well to do districts, But for first ten years of it, when we got in there, it was just kind of like not so hard away, not so far from like the Warriors movie.

Buzz Knight: You know, you’re a historian though of sorts of music, and obviously when you made that move to to New York, you were really honed in on some particular bands that had great influence on you. To talk about the bands at the time you moved in that were still part of, you know, the scene.

Eugene Hutz: The reason why even though well being in New York, while even being in Vermont for first years, I knew that I was gonna go to New York anyway, is because of Son Accuse. This is the band that’s kind of a central hypnotic force in my trajectory. Beyond their music being distinctly singular and innovative and just reaching a full absolutely like a singular kind of frequency, you know, beyond that, they had a kind of a heroic act to them. And they went to play in Ukraine in nineteen eighty nine, which was a revelation and really a miracle. This was a very still isolated time for Eastern Europe and the only people who would go there it’s like, yes, Gorbachev already opened the gates and some Western musicians started to command. But they were like Billy Joel kind of mainstream rock en roll musicians that had all their paperwork in order because they’re massive entities, but were underground bands to go and play music that’s extremely pioneering. That wasn’t a thing. There was no established route. Even though I asked my friends now who put on that show, they were like, we don’t really understand how it all came together. I guess some guys from a lot of we are cold and said that this progressive avant guard band is doing some kind of a heroic extent through Europe, and we got them somehow to come in here to Vilnius. So the show in Kiev happened. It was on the wings of son Accuse, one of their peak records, and band had many peaks. It was daydream Nation tour, and wow, we were all considered ourselves at that point the pretty savvy experts on all things alternative. We had a great connection with Berlin. We knew very well, like I showed the annoy about and gush Lamerica, a shual Frome shaft and birthday party. You know, Nick Cave’s old bands, listening to Bauhaus and the Ball and aside from like GBH and you know, the kind of more usual kind of things for punk rock pil and classics pistols of course, but this was like completely another side of that whole music. The show was held actually not so far away from my home. I didn’t know what to expect. I just kind of went there with my bandmates. It was like blowtorch in your face, you know, like all the alter tuning and resulted in such a hypnotical effect and just the whole presentation that they were playing this art punk hardcore. But they looked kind of like normal people, Like they kind of looked like professors from like younger professors from like you university, had this kind of academic kind of a style to them in a certain way. All I need to know now after the show, all these tribal beats and all these songs that have this extended, instrumental, prolonged captotic sections, I’m going to go there where this music came from. Yeah, it’s just it was such a formative experience for a lot of people in Killo. Everybody who was there, all the two three hundred people that were there at that show. They were under the spell of it for sure and remain to be under spell of it. So I kind of knew that I need to go there where like that music had like a geographical aside to it, or like I need to land on that soil. Yeah, so that was kind of I guess the vector for me.

Speaker 1: They’ll be right back with more Taking a Walk Podcast. Welcome back to the Taking a Walk Podcast.

Buzz Knight: Did you ever get to play at CBGB’s while it was still around?

Eugene Hutz: Yeah, of course I get to play there several times before gol Verdelo. I had another band shows, several bands, and we drove up from Vermont and played CBGB twice and Connie Allen high I think even continental this was like ninety four, ninety five, ninety six, even while living in Vermont, which is extremely art spirited, probably have heard of legendary things about it, like you know, bread and Puppets events two put it two main a kind of a legendary now punk hardcore teen sent especially teen Center that was turned into this punk hardcore warpex where we played you know, dozens of times. That was started by Bernie Sanders and his wife Jean Sanders oh wow. Yeah, yeah, that was kind of modeled after these teen centers that they had in Holland and Germany had a more European kind of way of running it, which was letting kids run it, and you’re letting kids book it. That’s why, you know everything like the most progressive hardcore bands of that time, like you know Shelter and you know Matt boll and Agnostic Tron Quick saying. Anyway, we just had like a train. It was like a revolving door of all the basically coolest music from DC and New York City and Boston. You know, so we were well exposed to everything and if something wouldn’t come our way, just go to Montreal, which was an hour and a half away and see like John Spencer or Nana Snails or Nirvana or Nick Cave. But yeah, we kind of who got He played so many times in Burlington and it was really influential.

Speaker 1: You know.

Buzz Knight: We had on a previous episode that Danny Fields so central to lou Reed and obviously the Ramones, and we took a walk around the village and when we got to the site of CBGB’s I mean it really it really cuts it him not seeing CBGB’s there. How does it make you feel when you see the absence of these places that have disappeared?

Eugene Hutz: Oh boy? Yeah, Well, Danny has such a you know, impact on the whole history of of of everything, of everything cool. I was lucky to meet him and fulfill my thirst of knowledge of some of those things, you know, And he’s such an incredible person to drive about that specifically, So I can see how that just can be tramatic. It’s not the same, let’s put it sway. For me, it’s slightly less traumatic. But listen, I moved to New York City because Sonacuse is the vector, but there was a vector to that, to those National Treasure institutions. It’s partly traumatic for me too. That’s probably what we should have begin with, because talking about having a walk through New York, I have a particular attachment to Alphabet City and that you know, Ukrainian Village and all the Lower East Side, all the pockets of it, because I lived in for a long time and many places over there. But also because it’s not that it’s just CBGB and Cornye all and High and Brownies and Pyramid and Sidewalk Cafe where I start. It started over as a singer songwriter. It’s that it’s in Ukrainian Village. It’s a block away from the Selka Corny Island high When I I meant the first to play there while my oldest old dance around the corner, I would find that there’s a Ukrainian restaurant next to the punk rock Club, and there’s a Ukrainian bar, you know, just around the block from CBGB’s, and there’s a Ukrainian sports bar just around the block from Brownies. And I was like, what the fuck? This is magic like this, I could not you know, this is fantasmagori, like it’s coming true.

Buzz Knight: He Danny loved taking me over to the Ukrainian Village area. I mean he that was very special. All was special, but for Danny, I could tell his very close you know association and.

Eugene Hutz: Yeah, and it’s especially for you know, I mean he has so much mileage in there and all these events and I continue to discover up until these days, amazing things about that. It’s not that it’s just called Ukrainian Village. I mean the culture is there just crashed the surface and you’ll find out that like New Order first show in New York City was in Ukrainian National Home. I was like, somebody told me about it, and I was like, no, way, interesting. Then I looked it up and there was a picture of you know, Bernard Sumner New Order on stage with a backdrop of Ukrainian poet you know, Tarasha Chenko, you know, and yet of course it’s an Ukrainian National Home. And then I scrashed the surface part there and went to talk to people, the old timers who were there, and they’re like, yeah, we had like Misfits and Chromacs and everybody else player on the regular basis. I mean, why is that a surprise? I mean, Ukrainian has love music. I was like, damn, that’s some incredible history. How did that come together? And they were like, well they didn’t have any place to go, and you know, we love to party, so I had to just play here and let’s make a deal and they and so we did.

Buzz Knight: Oh wow.

Eugene Hutz: So it’s like it’s goes on and on. Similar with Polish community too, I mean, as you know, one of the venues warsaw As it’s just Polish National Home converted to a very successful, awesome venue in Greenpoint. And you know, Ukrainian Polish people are very kindred spirits and many of the venues that we play across the country, and you know, and especially in early tours, you know, we played a lot of great venues in in uh, you know, Cleveland and Chicago that were basically old Polish Ukrainie, a Lotvian social polls that we’re remodeled as venues for rock n roll.

Buzz Knight: Don’t hang up on me, yakshimash.

Eugene Hutz: Yeah that’s Polish. Yeah, I know.

Buzz Knight: That’s all I’ve got. That’s all I got. Tell me about you play worldwide, So tell me about some of your favorite places all over the globe that you love playing.

Eugene Hutz: I’d say, well, there’s two kind of different ways to ask for that. Culturally, you know, I’m kind of a really huge fan of Japan and Latin America. Of course, they have very distinct culture and so a lot of that is very appealing and just awesome when you get there. It’s a bit of sands that you landed in a different planet. They have their own way of running things, you know, in life style is distinctly different, and the audiences are super you know, enthusiastic, and as you know, Japan is extremely well informed and super receptive to anything that’s new. So we always did super well in Japan and played awesome shows actually with Sonacus one of the festivals, and you know, people just there get so excited. It’s like, I remember we played the festival and it was during the earthquake. But then we’ll get off the station. You know. There was news that there was an earthquake during the show and that there’s one more coming probably later on in the evening, but the promoter still asked us to play an after party. We played another show a couple hours later. It seemed like they had a holden things and things were supposed to work out, and work out they did only when we got to hotel and partying and I started seeing from the balcony from we were like a fifty six year floor on the balcony and I start seeing the pool downstairs. It just kind of looks like, you know, a glass of water if you just shake it in your hand, just splashing all over the place. And I was like, well, that’s okay, it’s that thing. And anyway, nothing went off the rails. That kind of will stick in your mind, you know.

Buzz Knight: Oh yeah, I’d say.

Eugene Hutz: The festival didn’t step just the wife went on as normal. That was pretty suitable suitable earthquake. I mean water was splashing pretty far out of the pool.

Buzz Knight: Yeah, I’d say, you know, jeez, that gets etched pretty severely in your brain, right.

Eugene Hutz: Yeah. By the time, I had like twelve Roman cokes, so I was easied into it.

Buzz Knight: You know, tell me how your acting career began and has evolved.

Eugene Hutz: I don’t know, there’s really a way called career, And yeah, it was in several movies. It would be a career if I pursue.

Buzz Knight: It acting hobby. Acting hobby. Then how’s that?

Eugene Hutz: Yeah, okay, that works. You know. Everything Is Eliminated is the first movie that kind of fell out out of the sky. Probably there’s some sense of so called love attraction that was at work, because it’s kind of several things were aligning with that. A friend of mine, a Ukrainian artist, you know, gave me a book Everything Is Eliminated, just literally like a month or two months before the news of this film casting came up. I actually kind of poked around it and didn’t really read it, but I thought it was interesting and the way it’s written in such an unorthodox way, and I think that the writer of the novel he came to my party in Bulgarian part and another writer told me about it, you know, so it’s kind of on my radar. A movie people reached out and said, we’re making The System in european kind of spirited movie, and would be great if you could maybe collborrit on soundtrack for that. You know, your band kind of has a n act for that. And yeah, I was like, yeah, okay, let’s meet up. And it was only during the meeting. It was really music that led me onto it. You know, it was during the meeting that Leave Schreiber, you know, who directed the movie, and kind of was hey, like listen, okay, well music is one thing, but you my friend done any acting by any chance too? You know, I had a kN eye for it. You know, it’s like, maybe you should commit for a screen test tomorrow. So it’s like, yeah, I’m not a post to it. I guess that went okay because like three weeks later I was, you know, doing rehearsals for the film in Prague where the production was set. So once again music led to that acting. It’s something you can, I guess win a certain extent, but it is a very different lifestyle altogether. You can’t really wing that lifestyle. It’s just absolutely different way of living. I mean, you have to wake up at six am, and that’s like when I go to bed. It’s a drastic change of lifestyle. So when everybody after, you know, that film had really great reviews and was like, actually people still keep discovering it. So one of those like revered kind of pictures, you know. Yeah, I was like really encouraged by a lot of people like, hey, you got to like move to la and do that whole thing. Yeah, you winged it, and you can wing a lot more of it. You got to still do all the you know, legwork and do all these castings and get up in the mornings and do all that stuff. And it’s not so much getting up in the morning. I’ve got up plenty of times in the morning to go and do music radio and all that stuff. And you know TV and all those TV shows are shot very early in the morning and aired that night. So whether you got thirty minutes of sleep or two hours of sleep, nobody cares. You just wake up and you go and do it. I was just like, let me meditate on this for five seconds. The ASP words, No, I don’t want to move to LA and I don’t want to abandon my lifestyle. I’m a night towel. I’m a night towel kind of workaholic. It’s a kind of a thing that tags along with Gogo Burdello, folklore, you know, partying and festive activities. But my way of partying is basically a maniacal workholism of things that I like to focus on.

Buzz Knight: So what are you working on now? What are you focusing on now?

Eugene Hutz: Well, exactly last night I went to bed at six thirty am because I was mixing my new project, Buzzle Panther, which is a new band that I play in and also produce with Brian Chase from Yeas, another iconic New York City band, and also coming from that bubble of you know, turn of the Santary bands that I was talking about earlier. It was a very fertile time. There’s a lot of interest in that era. Now I can see why because some really really amazing bands came out and artists, you know Regina Spector and also started out on Sidewalk Cafe meaning restarted, you know, I mean I restarted there under great curation of Latch. That was a great guy who was also a songwriter. I think he lives in UK now, but he was running that kind of he called it anti folk fest kind of a thing and open mic nights and he was really for kind of empressario. Kind of a knack to him where he could just tell people right away who came in for the first night open mic. You know, he’d be like, listen, that was good. Why don’t you take like a Thursday night and you know, do a set. And you know, he kind of helped Goglebrdello. Back then we called Hoots and the Bella Bartoms the first formations you know of it. Regina remembers him very you know, warmly. So anyway, circling back this new project, Puzzle Panther is a band that kind of speaks of kind of New York continuity. You know, the principal songwriter in the band, it’s not me, it’s not really my band. It’s Victoria Espinoza, who is a lead singer. She’s the principal songwriter, very strong, brilliant new songwriter, her friend cab On Tempa from Butchwick. They workout material that just like you listen to it and you just like can’t tell that they kind of grew up on a steady diet of ramones and Yeah Yes and Talking Heads and Sonic Youth once Again and Blondie and there’s a bit of grung genancy. But it’s kind of dancing around that New York cool thing that you know, Velvet Underground started.

Buzz Knight: That’s tremendous, that’s tremendous.

Eugene Hutz: And you want to get behind things like that because it’s just New York City has such an incredible musical legacy and like you don’t we don’t want to see slip away, you know, like no, got that right? Yeah, I mean come from New York City that that go on influencing entire world. Yeah, it might might get hyped like crazy in London and receive all the stamp of approval from Enemy and the rest of the British press before it like gets blown up worldwide, but kind of originates here. It’s a New York City’s kind of workshop, you know.

Buzz Knight: So in closing, what would you like to learn that you haven’t learned about creating music, producing music? Whatever?

Eugene Hutz: Wow? I guess one of the things is I naturally found myself in this like a position of producer over the years because I produced or at least co produced all Google Bordella records with amazing people like you know, Rick Rubin and Stevel Binnie and Victor van Voogt, you know, Andrew Schapps, Walter Schraffels. I worked with a lot of amazing people who have a very serious, serious insights into how great music gets captured, and they made some sidebar notes along the way. It was a natural time for me to start applying a lot of the engineering and musical empresardio skills, two projects that inspire me. It’s just basically as simple as that. Like Puzzle Panther is just in my immediate vicinity, you know, and our bass players also, you know, He’s he was also born and raised in Ukraine, been living here for twenty five years, just like me. I’m very close to that band in particular, but there’s new bands popping up in the city, and I think that historically it’s an important moment to cham in on as much as you can to preserve that continuity because when that I kind of fractured the scene in a lot of ways, you know, I mean it was already pre fractured for other reasons. There was a kind of scene and a powerful scene and a fantasicle until about two thousand and five six seven. But when all our friends became successful a lot of them did, the scene dispersed. Everybody was just out on tour all the time. Of course, new bands form all the time, but there was something magical about that particular wave that we were part of. I didn’t feel like that was quite such a flucker momentum afterwards. Listen, turn of the Center is not nothing. It’s a special astrological time, and of course there was some astral help on that. It’s like an open portal. People are more open minded, you know, they want to get rid of old crap, and they were more open minded, and then I think people just get more closed minded. Then seemed kind of dispersed a little bit, and then pandemic was just really messing with everyone. So now, you know, anything that’s kind of has like a fountain like energy, regardless of its style, you just kind of want to support it because you know, we need it. I mean, we need.

Buzz Knight: New good music now more than ever.

Eugene Hutz: Right, yes, seriously, and agitated music that stylish music with a touch of anger to it is kind of coming back, you know, or some of it is driven by anger because the world became a distort a place again. Yes, it’s a method of therapy really to pro create this kind of art that can be healing.

Buzz Knight: Amazing, Eugene, boy, we scooped up almost an hour here and I feel like we just got started. I’m very grateful for your.

Eugene Hutz: Time, Yil. That was a pleasure talking for sure.

Buzz Knight: I really enjoyed it, and I wish you well, I wish your family well. Thank you so much, and our heart is there and I’m grateful that you were on Taking a Walk, albeit virtual.

Eugene Hutz: Thank you for hale on Man. Absolutely, thank you so much.

Speaker 1: Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

About The Author

Buzz Knight

Buzz Knight is an established media executive with a long history of content creation and multi-platform distribution.

After a successful career as a Radio Executive, he formed Buzz Knight Media which focuses on strategic guidance and the development of new original content.