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In early to mid-2000\u2019s, Kris Kanoho (my longtime friend, collaborator, and The Pop Disaster<\/span> producer\/guitarist) and I started discussing what a solo record by me might look like. I had started writing on my own a little, and we started meeting up regularly to work on the stuff I was writing. That led to some demo versions of songs, and I started seriously thinking about the solo thing \u2014 to the point that I brought it up to Ted (Kirkpatrick). He didn\u2019t seem super excited at the idea, but he didn’t say I couldn\u2019t do it. He asked that I be mindful to not do anything that would undermine the brand, and that I hold off on doing anything until after we did another record. That was in 2006 or so, Aaron had just rejoined, and so it seemed like a reasonable request. Of course, the next record didn\u2019t come out until 2012. In the meantime, I kept writing bits and pieces of songs.<\/p>\n \n Parting ways with the band at the end of 2015 was what ultimately provided the impetus to do something.<\/p>\n \n I sat down with Kris and we had a long talk about what I\u2019d done in the past, and what the future could look like. He encouraged me to revisit some of the stuff we\u2019d demoed, and to get busy writing. Kris has a home studio, and we\u2019d both talked about doing a record together since high school. We decided it was time. So we started meeting weekly to work out the stuff I was writing. We resurrected a couple from the early demos (\u201cMispent\u201d and \u201cSleep\u201d) and I started finishing some of the songs I\u2019d had rolling around in my head for awhile. That turned into building the songs in ProTools, which led to reaching out to people to play on the record, and ultimately to crowdfunding the money to actually finish up and release the record.<\/p>\n \n \n \n Tell me about the song “Sleep.” What led to writing that tune? Who’s it addressed to? How do you define depression? What are the cures you’ve found? What message do you want to convey to those suffering from depression or being super down or blaming themselves for everything, etc.?<\/span><\/p>\n \n Someone close to me escaped an abusive marriage back in the early 2000\u2019s. They were on their own with three very young children, and it was a lot to handle. Once the ball got rolling on getting a divorce from the abusive spouse, things seemed to get more challenging. We talked about all of those situations a lot, and one of the things that kept coming up was that they couldn\u2019t sleep. No matter how exhausted they were, all the baggage kept them up at night. \u201cSleep\u201d came out of those conversations.<\/p>\n \n I\u2019m not sure how I\u2019d define depression, exactly. I know for me it\u2019s usually a by-product of obsessing about things i have no control over. The obsessive thoughts end up leading to me beating myself up for not being able to do anything about whatever thing I\u2019m obsessed with, and then depression sets in. I think the challenge \u2014 beyond letting go of the things you can\u2019t do anything about \u2014 is being vulnerable when you\u2019re in that headspace\/emotional state. The temptation is to bottle it up and try to make it through alone, but that really only makes it worse. Talking it out, whether with a trusted friend or a professional, is invaluable in terms of keeping things in perspective. Prayer is helpful, too.<\/p>\n \n How did the mellow, super peaceful vibe and musical tone get developed? What led to that?<\/span><\/p>\n \n When Kris and I originally demoed \u201cSleep,\u201d it was way more uptempo, and the vibe \u2014 instrumentally and vocally \u2014 was way more rock. When we were pulling together the songs for The Pop Disaster<\/span>, we listened to it and realized the bones of the song were solid, but that the feel was totally wrong. We reworked it at the slower tempo with acoustic guitars, and once we had that, the cello and violin seemed like a natural fit.<\/p>\n \n “After I’m Gone” What is that song about?<\/span><\/p>\n \n In 2014, my wife and I moved from California to Austin, Texas. There are a lot of different reasons for why we moved, but one of the factors was where I had been working. There was pretty much no work\/life balance, and some key relationships I had within the organization had gone sour. Some of that is my fault, but a lot of it wasn\u2019t. There\u2019s a part of me that wanted to implement a \u201cscorched earth\u201d policy when I left \u2014 burn every bridge, every relationship; to just destroy as much as possible on my way out, but I didn\u2019t. I left fairly quietly, and I worked long-distance on maintaining\/repairing the relationships that mattered. I was happy to leave, and I think there were some who were happy to see me go. At the same time, this was a place where I\u2019d spent a good chunk of my adult life, and these were people whom I had developed relationships with, so it was mixed bag. That\u2019s where the chorus came from \u2014 \u201cI know that I\u2019ll feel a hole in my heart where you used to be\u2026, and I hope that yours will bleed a little every time you think of me\u2026\u201d<\/p>\n \n We wound up moving back to the Bay Area, and I still have friends who are part of that organization, but it\u2019s never going to be what it was. It\u2019s different. That\u2019s not necessarily bad, but I go back and forth between being relieved to be free of that place, and being nostalgic about some of the good times there.<\/p>\n \n What about “Misspent?\u201d<\/span><\/p>\n \n \u201cMisspent\u201d is the first attempt I ever made at trying to write a song by myself. I wrote it in 2006 or 2007. There was not a lot happening in the world of Tourniquet. We didn\u2019t really have a record deal, we couldn\u2019t seem to find a new deal, and we weren\u2019t playing too much. I was thinking a lot about what, if anything, I\u2019d done with my life, and I was wondering if it had all been a waste of time. I am not a great guitar player, and I really don\u2019t play anything else, so I\u2019d always written with people. With \u201cMisspent,\u201d I came up with a melody and lyric, and I had a basic arrangement in my head. I took it to Kris, and he took the melody and ran with it. His contributions made it a better song. It\u2019s the first demo we did for what became The Pop Disaster<\/span>.<\/p>\n \n “As Damaged As You Are” reads like a metal-sounding song. How do you think it matches the music?<\/span><\/p>\n \n I\u2019m not sure I understand the question. I think the lyric and the music go together well.<\/p>\n \n Speaking of music, why the change to a pop sound?\u00a0<\/span><\/p>\n \n I don\u2019t think it\u2019s really a change. This is how I write. Yeah, I was in a metal band, and I like metal, but my tastes have always been eclectic, and I\u2019ve always loved pop\/rock. I think that\u2019s one of the reasons it took so long to finally do a solo record. The easy move would have been to find someone to write with and take a swing at some kind of metal-ish thing. That would have been a mess. It would have been contrived and self-conscious. Plus, if you\u2019re going to do something different, do something different. I did the metal thing for over 20 years. I enjoyed it, but I didn\u2019t see a need to keep doing it, especially if it was going to be a solo project. I cut my teeth on bands like Bon Jovi, Def Leppard, Motley Crue, Ratt and Stryper, and when I discovered Butch Walker it was like an epiphany. I love drums and loud guitars, but I also love a big singable chorus. I love big hooks. So I wrote a pop\/rock record. This record is a perfect snap-shot of me as a writer and singer at this point in time.<\/p>\n \n “Sideways” sounds like a breakup\/divorce song. What led to writing that one?<\/span><\/p>\n \n I saw different friends of mine going through divorces. I\u2019m fortunate; I have been happily married for 21 years, and I can\u2019t imagine trying to have a life without my wife. But I saw the range of emotions that my friends went through \u2014 the pain, the anger, the feelings of failure. My parents are divorced. A lot of my friends grew up in broken homes, but it’s different when you\u2019re the adults now and you\u2019re watching all of the events and situations that lead up to the breakup of a marriage. It sucks. That\u2019s some of why the bridge is so upbeat and kind of optimistic. Without it the song is kind of a downer.<\/p>\n \n Speaking of marriage, what are your secrets to a lasting relationship with your wife, Kelly?<\/span><\/p>\n \n I don\u2019t think there\u2019s a secret. Everyone\u2019s relationships are different. We really love each other. We enjoy each other\u2019s company. We try to communicate effectively. We do our best to put the other first most of the time.<\/p>\n \n What is your moral lesson or theme you’d like to communicate with “How to Die Alone and Broken?” Why?<\/span><\/p>\n \n There is no excuse for mistreating or taking for granted the people in your life. Too many people lose sight of what\u2019s important; they make themselves the main priority in their life, and in doing so they destroy the relationships that matter most \u2014 close friends and family. But if you try to point that out, they bristle and shift the blame to anyone and everyone but them.<\/p>\n \n “Life Goes On.” A lot of these tunes seem to talk about your time after Tourniquet. Is that so? Let’s talk about the band\u2026<\/span><\/p>\n \n \u201cLife Goes On\u201d was the last song written for the record. A lot of the others are \u201cdarker,\u201d topically, so I wanted to have something more positive and kind of anthemic open the record.<\/p>\n \n \n \n Let’s talk about Tourniquet:<\/span><\/p>\n \n How did you first hear about the open position in Tourniquet (back before you joined)?<\/span><\/p>\n \n Bryan Gray (The Blamed) is a fellow Bay Area native. His old band played with my old band, and we\u2019d gotten to be friendly. He knew I was looking for a band, he knew that they were in need of a singer, and he suggested I send in a tape.<\/p>\n \n What was the audition like?<\/span><\/p>\n \n Nerve-wracking and surreal. Nerve-wracking because there are a ton of words in some of those songs, and I wanted to be as close to perfect as possible. Surreal because I was a fan. I had those first three records, so singing those songs with the band who\u2019d recorded them was a bit of a trip.<\/p>\n \n What were your feelings of joining this band?<\/span><\/p>\n \n I was excited, and I wanted to do a good job.<\/p>\n \n How did you like replacing Guy Ritter and his King Diamond vocal style?<\/span><\/p>\n \n I never really tried to do the falsetto stuff. I tried to sing the songs well, to be respectful of Guy\u2019s work, but to also make the songs my own.<\/p>\n \n What were your contributions to the band?<\/span><\/p>\n \n I think I was a good frontman. I\u2019m a decent vocalist, and I\u2019m a competent songwriter. I always tried to give 110% live and in the studio. I helped out as much as possible behind the scenes. Not really sure how to answer this one without it sounding like humble bragging\u2026<\/p>\n \n (bragging is always humble, of course. haha)<\/p>\n \n How did you handle ministry from the stage, etc.<\/span><\/p>\n \n I\u2019m not a preacher, and I\u2019ve never aspired to be one. I\u2019ve also never been a fan of altar calls. But we were a Christian band. The songs were pretty explicit, so generally I\u2019d set up what the song was about, and I always made sure folks knew for sure that we were there to profess Christ as much as we were there to play.<\/p>\n \n What were your favorite memories from Tourniquet?<\/span><\/p>\n \n The first tour. Recording Vanishing Lessons<\/span>. The first time we played internationally. Laughing at stupid inside jokes. Playing practical jokes on each other.<\/p>\n \n Least favorite memories?<\/span><\/p>\n \n Behind the scenes drama. The way we handled some situations and relationships.<\/p>\n \n Why did you leave Tourniquet?<\/span><\/p>\n \n I didn\u2019t.<\/p>\n \n How is your relationship with Aaron? Ted? Any of the bass players?<\/span><\/p>\n \n I’ve spoken to Aaron a couple times since the split. It\u2019s always good to connect, but it always feels like we\u2019re both being really guarded \u2014 really careful about what we say. Truthfully, when I look back, I think I could have been a better friend to him than I was.<\/p>\n \n Ted and I haven\u2019t spoken since the split.<\/p>\n \n Former bass players\u2026 Let\u2019s see\u2026 The last time I saw Vince was the last time he played with us. Same goes for Andino. I email\/message Tim from time to time. I\u2019ve seen Victor in some of Jimmy Brown\u2019s Facebook videos.<\/p>\n \n I am on good terms with Gary and Erik. That wasn\u2019t the case for a long, long time. In retrospect, where they\u2019re concerned, I wish I\u2019d done things differently. I did a guest vocal on a song for Gary, recently.<\/p>\n \n If this were an episode of VH-1 BEHIND THE MUSIC<\/span>, how would you narrate the end of your time in the band?<\/span><\/p>\n \n I plead the Fifth on this one.<\/p>\n \n If there was ever an opportunity for a big reunion show or you got the call from Ted to join them on stage, what would you say? Why?<\/span><\/p>\n \n I can\u2019t imagine that ever happening.<\/p>\n \n Back to this album. Who played on it?<\/span><\/p>\n \n Kris Kanoho produced and played guitar. He and I have been friends since our teens, and we\u2019ve talked almost that long about doing a record. The first time I heard Tourniquet was at his house, and he played guitar on the demo I sent in when I was trying to get an audition. Musically speaking, without Kris, there is no me.<\/p>\n \n Jess Sprinkle played drums on almost everything. One of the things I truly love about social media is how it’s made the world smaller, and made people more accessible. I\u2019ve been a fan of Jesse\u2019s drumming since the Poor Old Lu days, and I can\u2019t tell you how happy I am that he\u2019s on this record.<\/p>\n \n David Bach played bass for most of the record. I bought First Watch<\/span> when it was first released, and I\u2019ve been a Guardian fan since then. One of the perks of playing shows is you sometimes get to meet the people you\u2019ve admired, and David is one of those people. He actually got to hear some of the early demo stuff a long time ago, and without his encouragement, I might not have kept at it.<\/p>\n \n Josiah Prince played lead guitar. I\u2019ve known Kevin Young for a long time, and he suggested both Josiah and Andrew (Stanton) if I needed guys to play. I\u2019d connected with Josiah on Facebook, and initially I wanted him on \u201c\u2026Damaged\u2026,\u201d to get an idea what he sounded like doing something different than the Disciple stuff. We loved the lead he sent back so much that we decided to use him for everything! He\u2019s super easy to work with, and he\u2019s really creative.<\/p>\n \n Tim Gaines played bass on \u201cLife Goes On.\u201d Obviously, folks know him best from Stryper. I\u2019ve been a fan since The Yellow And Black Attack<\/span>, and I\u2019d gotten to know him a little over the years. He played on \u201cClaustrospelunker\u201d from the Crawl To China<\/span> album, and later he played some live dates with us in 2008\/2009. He\u2019s a great bass player.<\/p>\n \n The rest of the players may not be as well known, but they were just as essential to helping bring the record to life. I am very blessed to know a lot of really talented people.<\/p>\n \n Where did you track it? What stories can you tell from the making of this album?<\/span><\/p>\n \n This record was recorded all over. Jesse is in New York, David and Josiah are in Nashville, and Tim is in Arizona. The internet has made the world smaller. Kris and I did our parts in the Bay Area in a loft in a condo. Recorded and mixed.<\/p>\n \n Kris and I both have day jobs and families, and when we started work we didn\u2019t have a set release date, so it took a little while to pull everything together. Not a ton of stories. When it was time to work, we pretty much focused on working. Kris did the lion\u2019s share, work-wise. I\u2019d show up with rough sketch demos and he\u2019d help me turn them into good songs.<\/p>\n \n Plans to perform these songs live?<\/span><\/p>\n \n I would love to play live. Still trying to figure that out. I\u2019d love it if I could take the recording band out, but I don\u2019t know if that\u2019s feasible. But I do want to play these songs for people. There\u2019s nothing quite like being on stage with a good band and a great crowd.<\/p>\n \n How can fans support you? Contact you? What’s next?<\/span><\/p>\n \n Buy the record. Stream it. Tell your friends about it. The response so far has been great, but there are always new people to reach. I\u2019m on Facebook (www.facebook.com\/TheLukeEaster\/<\/a>) mostly. I\u2019m on Twitter as @LukeEaster<\/a> but I don\u2019t tweet as much as I should. My website is at lukeeaster.com<\/a>. You can get CDs, downloads, and t-shirts there, or at Bandcamp (lukeeaster.bandcamp.com<\/a>).<\/p>\n \n I try to reply to everyone who contacts me, so feel free to reach out. I\u2019d love to hear from you.<\/p>\n \n![\"\"](\"https:\/\/heavensmetalmagazine.com\/wp-content\/uploads\/2020\/11\/ddaf77_6d704b7f0ba448788f6796c597ed3ea6-mv2_d_3600_3600_s_4_2-3.jpg\")
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