Everyone knows them as the crazy cacophony band that coined the idea of industrial jungle; Mindless Self Indulgence is a hybrid of sounds from rock to punk, to industrialized hip hop-like beats with all kinds of flotsam of alternative music mashed together. The appeal is limitless, so much so that the band describes themselves as being “from the future”, ten years ahead of their time. They certainly are not afraid to do their own thing. In an age when alternative music struggles against the industry, MSI are doing it right, with clever marketing points that include video games, comic books, and a very successful Kickstarter. On the eve of their new album, How I Learned to Stop Giving a Shit and Love Mindless Self Indulgence, and supporting tour, frontman Jimmy Urine got in front of our camera and shared his experiences with the Kickstarter, the new album, geek culture, and what makes MSI have such huge and diverse appeal.
interview by : Hangedman
photographer : Saryn Christina
The new album is in pre-pre-release on Kickstarter. How is it working for you?
Jimmy Urine : It works for us, I mean we’d heard about this with a couple of people who had done Kickstarter in regards to different platforms, some people did it with music, some with film, some with video games, and so on. We thought, this is an interesting way to cut the middleman out. I had heard a story about Aimee Mann the indie artist who had put out a record and everybody stole it. She put it out kind of on her own and so she was the one who was really losing out on the money. It wasn’t like a big corporation and everyone was sticking it to the man, so she got all irate and put out a big manifesto that was like, “hey people you gotta buy my record,” and at the end of the day nobody still bought her fucking record and they kept ripping her off. So we were like, what’s the only way people can’t rip off your record? Oh… how about if they don’t fucking have it [laughs] and you get the money first! Kickstarter is so much like a hostage situation and we loved the idea of a hostage situation so we went with that angle. A lot of people are out there doing this sorta whiney, “please give us money we can work together fans and artist yadda,” and we we’re like, “fuck you! If you ever want to see this fucking record you better give us ransom!” And it worked. [laughs]
So the approach worked?
JU : Yeah the great thing about Kickstarter is if you don’t reach your goal you don’t collect the money and nobody gets the product. If we didn’t make our goal we could have just burned the record and thrown it in the trash or we could have repurposed it as a soundtrack or something. But it did work and so we were like “this is great” let’s make a record! It’s also a pre-order, so it wasn’t just the money for us to get off our asses and make the record. It’s not like all this money is coming in and we’re going to go like have a big fucking vacation in Bora Bora. We pay for the manufacturing of the record, we’re printing out these really nice fold outs, CDs with beautiful art, we’re paying for the artwork, we’re paying for the recording, the mastering all those aspects that a record company would cover, we are going to cover with the money from the Kickstarter. So it really is us and the fans. The fans are like, “we really like this band, we want to see another record from this band so we give our money.” If people didn’t want to see another record, we wouldn’t reach our goal and there would be no record right now.
AUXILIARY ONLINE CONTENT
[ additional images not seen in the April/May 2013 Issue ]
read the full interview in the April/May 2013 Issue