lindsey boise
[first draft]
Thunder struck the evaporation and he quivered. Was that really how it happened? Yes, that’s the imprint at least. Making music had never been so self-negating. It reminded him of being born on September 14 in Inverness, Florida. His life, a blur of warm blues and humid reds, buzzing greens and sleeping purples. Eleven years in Vermont, eleven in Tennessee, the rest, so far, in New York. Numbers traveling alongside his name, up and down at different rhythms, welling up from various occupations: house painter, landscaper, fast-food cook, ice cream boy, bike builder, office and research assistant, teacher, musician, street canvasser, popcorn vendor, photographer, web designer. Whispers and secrets dipped into Latin, Old Greek, French and German. Rumors of his B.A. And music. Guitars and yells with Supersloth; trombone, singing and toasting with The Dig-its; guitar and theatrics under strobe lights with BGP; and anonymous mandolin tracks in the family studio. Trips to the Saguenay, the Oresund and a hasty ride on the Seine. Thunder struck the blurred mist and he shook. The nights fly by, bronze waves ricochet off his eardrums and resonate.
[Second draft, the first personal version]
My father has been a professional bass player and audio engineer during my entire life, and my mother never stopped singing, and dancing. My father built me my first guitar, an electric, circa my sixth birthday. It was shaped like a teardrop, like the guitar in The Jets. The strings hurt my fingers and I gave up after learning maybe two chords, happy to leave it under my bed and play outside with the lightning bugs and my brother, Corey. My next instrument was the trombone, which I began learning in fifth grade, played for four years and retired. I know it sounds cliché, but I had found rock & roll. So I started to play the bass at 14, and then brought the old guitar out from under the bed (yes it was still there), and at 15 I founded my first band, Supersloth, with Garrett Pittler on bass and Corey, my brother, on drums. We played anywhere youth could play in Nashville; basically at parties and the landmark Lucy’s Record Shop. The next band was the Dig-its, a six-piece ska-punk band that had accumulated a good-sized following in the Nashville area. For the Dig-its I brought my trombone out of retirement and performed as a member of their horn section, occasionally singing backup. The Dig-its fell apart unceremoniously as we all went away to college and to work. I entered Austin Peay State University, directed my attention to diligent studies and lounging around, and forgot about making music until I found myself captivated by a new instrument. At that time I had an insatiable love for Irish reels and airs and their French-Canadian offspring, but knew nothing of what instruments were used. So when I was first shown the G-chord on a mandolin in a friend’s music shop I was instantly enthralled by the sound. It reminded me of some element I cherished in Irish, Canadian, Bluegrass, Gipsy, Klesmer, and Italian music. That was about a year before my meeting with Bill Carrasco and the start of our Agua Trip project and the first draft of my bio. With Agua Trip I use all my past musical experiences as well as experiment with new instruments, hoping with all of it to etch new and intriguing sonic designs. I just never want to stop learning and changing and Agua Trip is where I do that, for now.
Birthyear: Smallpox was eradicated; post-it notes were introduced; the world saw the first long-distance solar-powered flight; the median household income was $17,710 and the federal debt $909.1 billion; Jean-Paul Sartre died from edema of the lungs and John Lennon from five bullets.
Influences: Bob Marley, The Police, The Beatles, Peter Tosh, Peter Mulvey, Outkast, the Epochs, Citizen Cope, King Django, Tony Rice, Sting, Stevie Wonder, Cake, La Volée d’Castors, Rancid, Nick Drake, King Tubby, Cypress Hill, David Grisman, The Fugees, old slow-tempo fiddle tunes, Burning Spear, Jimi Hendrix, Sublime, Sam Bush, Tones from the Underground, Julio Jaramillo, Red Hot Chili Peppers, Israel Vibrations, The Suicide Machines, Alice in Chains, soundtrack to the Last of the Mohicans, Bob Dylan, Sufjan Stevens, Eric Clapton, Rage Against the Machine, Wyclef Jean, Caetano Veloso, Elvis Costello, Ben Harper, Nat King Cole, The Clash, Tom Petty, Beausoleil, Tryo.
Animal most often mistaken for: Buffalo in the winter, camel in the summer.
Last three trips taken: Los Angeles, Arizona, Vermont.
Preferred method of songwriting: Very dim lighting, Nag Champa burning, a mandolin or nylon-stringed guitar and perfect quiet. But in the real world, this rarely happens, so usually I sing to myself, hope to remember the melody until I get to an instrument and figure out the chords. Either way, I record myself jamming out the idea over and over and see where it goes. Later, after I’ve forgotten it, I go back and add ideas. And so on…
Favorite Food: Shepherd’s Pie, it’s so comfortable. Or Indian, namely Chicken in Coconut Curry.
First album ever owned: "Faith" by George Michaels.
Favorite Song on "Breakfast Translations": Good For Me.
Favorite show ever played: The first Moveable Feast, the Sneak Preview. The amount of positive, creative energy was invigorating and really gave me a boost of optimism about the potential of a sincere New York City.