How'd you two meet?
K: We were in two floating circles. He played in Wolf Colonel. I'd been looking for someone to make some beats with me for some songs. I had just finished recording The Concussive Caress. I kind of exhausted myself recording by myself — I totally didn't have a partner in it at all. I was working on the 16-track at Dub Narcotic with big, two-inch tape. I wanted to try to just work with someone else just to see what else I could make. There was this one song "Hock It" that I had a vision for.
Where you wished for a Jona before there was one?
K: Yeah. I had a vision of a beat for it and I tried a couple different people and they were so kind, but I just couldn't communicate what I meant. I was like, "No there's a part where the beat goes [singing]." Then I went down to Portland and I tried it out with Jona before we had a vision of working together, and he just totally immediately did it. And he was like, "Here let me do the keyboard and I will see if I can make a beat, and I'll send it to you over the Internet." And he did it and it was exactly right. I hadn't even left him with how many verses there were — it was like a rough sketch. And he just did it and he put in this four on the floor part of it that totally fit perfectly with the way that the lyrics went. It was crazy.
J: So she did The Concussive Caress and she was looking for someone to do that "Hock It" song. It clicked and after we did that. I always wanted to do something with her after I heard her records. I liked her two records a lot.
What did you like about them?
J: I just like the way she wrote songs. And I just liked how in The Concussive Caress I could hear these ideas when she was using drum machines and I was like, "Oh man. I like this, but it's kind of janky. I bet this would sound really good if it was tightened up."
Is collaboration a smooth process for you two?
