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The Funs Remind Us To Make Art And Skate Every Day

The Funs Remind Us To Make Art And Skate Every Day

The Funs are loud. The Funs write heavy music soaked in distortion, punctuated by thrashing drum palipitations, and laced with incantatory vocals. The Funs are finally bringing their uncompromisingly chaotic live show to Brooklyn’s Alphaville on March 10. Before this rare chance to catch the elusive group outside of their Midwestern hideaway in rural Illinois, AdHoc chatted with The Funs' Jessee Rose Crane and Philip Lesicko about their isolated headquarters, their upcoming endeavors, and their prognosis of today's uncertain DIY landscape.
 
The first line off of your upcoming EP, Is A Cult, is a directive to “go save yourself.” Is this addressed to anyone particular?
 
Jessee Rose Crane: It is and it isn’t. It means you can’t take care of anyone unless you take care of yourself first. It’s about getting out of your own head and seeking what you need.
 
AdHoc: You have described your current living situation as an “artist’s sanctuary” in rural Illinois. How does the setting affect how you make music, especially having been in an urban setting like Chicago before? Is this a place where you can go save yourself?
 
J: Rose Raft is what we call our home in New Douglas, IL. We’ve spent years rehabbing this big orange brick house built in 1872. It’s beautiful. It’s in a little village four hours south of Chicago. You get off the highway and drive into the corn and turn right and then you find this place that shouldn’t be there. We’re surrounded by farmers. It’s funny but I couldn’t see myself doing anything else. This feels right. We dug this place out and I mean we dug it out. It was abandoned and hoarded and we saved it with a manic determination. Bands and artists come here off tour or to record and it gives them a break.
 
It sounds good in this house. To be able to walk downstairs and play music and record still feels surreal. It’s a big change from living in Chicago for sure. I don’t miss practice spaces at all. There’s a sensitivity in making that comes from your environment. When I make something, I want to be wholly present. Eat, sleep and breathe the work. That is what I can do in this old farm house. This is what I can share with others.

 

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