CLICK HERE TO ORDER YOUR COPY OF PRINT ISSUE #9, WHICH FEATURES THIS INTERVIEW WITH BT IN ITS ENTIRETY!
BORN AND BRED ON BACH AND BEETHOVEN, THE MAN THAT BECAME BT IS SYNONYMOUS TODAY WITH BASS AND BEATS. WITH MULTIPLE DISCS ON DECK, SHOW DATES IN HIS PLANNER, AND A SOFTWARE COMPANY TO RUN, IT WAS HARD FOR HIM TO FIND A FREE MOMENT TO CHAT WITH OUR OWN WAYNE CHINSANG ABOUT CLASSICAL COMPOSERS, CIRCUIT-BENT FURBIES, AND HIS MOST RECENT GIFT TO THE WORLD OF SOUND: THE MUSICAL EQUIVALENT OF A TITTY.
BT: Hey, Wayne. How you doing, man?
Wayne Chinsang: Good. How are you?
BT: Really good, man. Hey, I don’t ever say this at the beginning of an interview, but your magazine is fucking amazing.
WC: Thanks, man.
BT: Seriously, no bullshit. I’m kind of bummed out I didn’t discover it awhile ago, because I just did a side project that involves a lot of visual art with music. And when I opened your magazine.... I mean, it’s hysterical-- the interviews are really funny and everything-- but the art is incredible. I would have fully tried to hire some of the artists that you guys use because they’re so fucking good, dude. I really dig it, man.
WC: Thanks a lot! We actually started the mag up at our art school, so it’s basically just a bunch of visual artists that run it.
BT: Wow, man. How cool.
WC: I’ll be sure to let everyone on staff know what you said, and if you ever need anything, definitely let us know.
BT: Oh my God, dude, I’m not kidding. I’m definitely gonna do a follow-up to this record I have coming out in the summer. Some of the tracks have animation, some of them have short films-- just a bunch of my friends that are filmmakers and animators did pieces for them. But I have one piece on there that is hand-drawn, and I really wanted a second one. And there’s no time now, but for the second one there will be. So I’m totally serious when I say this: I’d really like to talk to some of the people there when I do a follow-up. Because, no bullshit, dude, I flipped out when I opened the magazine.
WC: Thanks a lot, man. That really means a lot to all of us here.
BT: Definitely, dude. It’s fucking incredible stuff, man. Seriously.
WC: You know, oddly enough, the night that you and I first met, two of the artists from TLC were at the club doing live art while you were playing.
BT: Are you serious?
WC: Yeah. Right at the front door, when you first walked in, there were two boards set up, and two of the guys were there painting. The guy that did the Kermit the Frog cover [Vinnie Baggadonuts], and the guy that did the illustration of Mike Patton [Erik Rose] were there painting.
BT: It’s really weird-- Mike Patton and I have never met, but we’ve crossed so many of the same paths that it’s not even funny. Both of us are really close friends with this guy named Richard Devine, who is an amazing IDM [intelligent dance music] artist in his own right. But both Mike Patton and I go to a couple of the same people who hand-build instruments for us. So we just have a lot of strange stuff in common. I know we’ll meet and it will be strange, because (laughs) that’s just kind of how it is with the two of us.
WC: You should both make an effort to not meet, and then the first time you do meet you should immediately make something together.
BT: Dude, exactly! Seriously. Hopefully we’ll run into one another ready and with instruments in our hands.
Both: (laugh)
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