Interview by Lee Escobedo. Photo courtesy of Trent Stephenson
Stefan Gonzalez is one of, if not the most, important musicians working/performing in Dallas right now. Gonzalez, of Yells at Eels, Unconscious Collective and his newest project, Orgullo Primitivo/Primitive Orgasm, is part of a deep rooted musical family, bred in Oak Cliff and now grants his tutelage to new generations of Latinos living in the neighborhood at the Oak Cliff Cultural Center. He is also one of the fiercest, most intimidating and violent performers I’ve seen to date. I mean these descriptions not in negative terms, but in the sheer ferocity, technique, and primal emotions that accompany a Gonzalez performance. He’s also curator and creator of the most important residency in Dallas at the moment, Outward Bound Mixtape Sessions at Crown and Harp on Mondays. At any given show, you’ll find the most progressive and intriguing acts in Dallas, ranging from avant-garde, punk, grindcore, thrash, industrial, and noise. This residency is showcasing the best this city has to offer, and making waves as an unapologetic, thoughtful lesson on how to curate the uncontrollable. If you haven’t visited his residency, or seen Gonzalez perform, make it a priority, you’ll be witnessing the future. THRWD chatted with Gonzalez in preparation for his performance with Unconscious Collective at Two Bronze Doors, the best new venue in Dallas, to muse on his ever-changing neighborhood, his numerous projects, and what makes his mind melt.
1. You recently were in a near death experience. How did it change your perspective on time, and did it effect your music at all?
Death walks behind each and everyone of us at every split second. Value your place in this world and value those around you always. Love as hard as you can always because you never know if and when it’ll fade. Fleeting moments can be eternalized if you realize just that. Has it impacted my musical output? I’ve been obsessed(musically and artistically) with the concept of death since I was incredibly young so…no it hasn’t exactly changed anything in my musical output. I am, however incredibly grateful to be alive. Forever curious about death and what may or may not happen afterwards. I am endlessly tickled by the miracle of living and the monstrosity of passion and suffering that is a result of it.
2. What events musically and non-musically led you to the projects you’re working on now?
All of my life experiences have lent to my contribution to the musical world. The pulse of the world is a percussive beast. The heartbreak and romance, the wind, the constellations, the chatter of humanity, the birds, the clanging of construction workers deconstructing and yet repairing the very roads we use on a daily basis, the proclamation of love and hate, domestic disputes, airplanes flying overhead, self doubt tearing you apart from the inside out, pride, envy, war, peace, bodily fluids, love, hate, indifference etc. All in this world has rhythm but are you really listening? I really had no choice but to become a percussionist with all of the music and art I was raised around. Being able to decipher one musical style from the next is nothing I ever planned on but I was raised on all things classic rock, jazz fusion, avant-garde, and psychedelic. When I was finally able to make my own decisions taste wise I leaned more towards all things metal, punk, grindcore, thrash, industrial, and noise. I was initially raised under the tutelage of drummers with an avant-garde, free jazz background but rejected their offerings considering that I was already largely self taught and already set in my ways by the age of eight or so. Since then I’ve hit a wall of monotony with so called “extreme music” just the same and have had to dig deeply into my past and myself to find inspiration otherwise. Now it is all one and the same stylistically. If everything has been done, as many say, then we have no other option than to mix it all up into one collective mission statement.
3. How are your identities behind each band different with Unconscious Collective, Yells at Eels, and Primitive Orgasm?
Unconscious Collective is rooted in a tradition of ritual and that which can’t exactly be articulated in word but only through experience. Musically speaking it still digs deep into the music I was raised on from the psychedelic to the improvised to the heaviness of all things relating to doom metal, punk aesthetic, etc. We have a vague identity. It’s best to see and or hear it so you can make your own decision for yourself. Yells at Eels is Gonzalez Family-wholesome-freak-the-fuck-out-time. It is accessible yet abstracted, swinging, brutal, and melodic all at the same time. It is an absolute pleasure to be able to express myself alongside my father and brother and whatever guests we choose for the job. As with Orgullo Primitivo and Primitive Orgasm, well that is my time to let all my unhinged anger and confusion out. I wear my heart on my sleeve and try my best to let everything out. Orgullo Primitivo/Primitive Orgasm is currently my ultimate artistic statement. It is rooted in all things relating to jazz, grindcore, punk, performance art, industrial, noise, and personal dialogue.
4. What were you drawing from with Primitive Orgasm in terms of performance?
Honestly, I don’t really know. It changes all the time. I’m just trying to let out all that I don’t allow myself to let out when having the deal with society at large. It’s channeling everything perverse, tragic, sarcastic, unhinged, macho, sexualized, and vulnerable. I have no dogmas other than complete honesty, regardless of how embarrassing or exposed it may make me feel.
5. How would you describe the legacy of your family in the Dallas music scene?
There is no legacy other than that which is open to interpretation from spectators within the D-FW/Denton area as well as internationally. We are just family. I will not downplay how fortunate I feel but I am still my own person, an artist who has to both integrate into this family picture and yet set himself apart to show his own internal dialogue just the same. I have grown up around some of the most far out musicians, artists, and characters in the world though. I wouldn’t trade my clan for another. That’s for sure. We’re pretty damn lucky. If it weren’t for my father’s musical history I can’t exactly say I’d be the same person.
6. How important is Oak Cliff to your heritage? How do you view the recent neighborhood changes?
Oak Cliff is very dear to my heart, yet in my opinion it is currently too vanilla. Your hood is no cooler than anyone else’s. Fuck your 75208 hat. You’ve only lived here for two years, goofball. It used to be a place where I had to fear for my life while walking down the street. Now I have to fear the plague of suburbia sucking away the inherently authentic grass roots culture, one accessory store at at time with pseudo bohemian, honky hippies calling the cops on me and my brother taking nightly, neighborhood walks. Fuck them. People used to say burn down the ghettos. Well now condos are now in place of just that. Connect the dots. I’ll make no terrorist statements here. I will say that it is pretty cool to be able to walk mere blocks from where I grew up to go check out ground breaking performance art, art exhibits, and world class musical/spoken word performances like John Waters, Goblin, Pinkish Black, Ronald Shannon Jackson Decoding Society, The Residents, Negativeland, Khaira Arby etc. It is a cultural push and pull here. I cannot get behind all of it but it is quite a blessing nonetheless.
7. Concerning your class at the Oak Cliff Cultural Center, what are your philosophies on teaching?
I think teaching is the answer to truly providing a difference in society, that is if you do it well or effectively. I love my students like my family. They brighten my life. They’re incredible. Advice? Find the medium ground between patience, wisdom, tough love, and seasoned experience. I never though of myself as a role model or one who could wholeheartedly contribute to society positively. but these kids have changed all of that. I believe I am learning more from them than they are from me. Truly.
8. How did the residency on Monday nights come about at Crown and Harp? Do you see the venue bringing an artistic renaissance of sorts to Lower Greenville?
Moody Fuqua asked me to start curating a weekly night in place of their former open mic night. He specifically requested I follow my musical vision. I am still currently trying to figure out just what that is. I think there is a change taking place and
these Monday nights have been proving to inspire many. It’s overwhelming really and I am very overjoyed to play my part in this shift of cultural consciousness. I am truly flattered and surprised. I’d say all of Dallas is doing better musically than it has in well over five years if not 10.
9. What elements do you focus on when curating a line-up for your Monday night Outward Bound Mixtape sessions?
I like for it to work as a thoroughly curated open mic night minus so many acoustic guitars and predictable alt-country annoyances. I focus on all things relating to improvised music, punk, techno, electronic music, noise, ambient, and everything in between. I am still at the local music scene’s mercy since this is a more recent thing. It is growing though. It’s been pretty incredible.
10. The contemporary art scene and contemporary hip-hop scene in Dallas are both flourishing and receiving national attention. What is your favorite Dallas-based hip-hop artist, collective, or group?
I know fuck all about local hip hop so I cannot comment on that. Sorry.