On The Line with Adam von Buhler of Anarchy Club

Following up on last year’s interview with Adam von Buhler, I spoke with one of Boston’s finest musicians once again in a special two-part interview to discuss everything from Anarchy Club, KISS, Rush, Queens of the Stone Age, Boston, and much more!

Alex Obert: I’d like to go over the instruments that you play and I’m looking to find out how you learned each of them. The first one is drums.

Adam von Buhler: I’m self-taught on everything, for better and for worse. As far as drums, when I was a little boy, a neighbor had a drum kit in his garage. I used to be his friend so I could have access to his garage so I could play the drums. It was purely a feel thing, you just sit down behind them and you sound terrible for a year and then you sound less terrible the next year and less terrible after that, on and on.

Alex Obert: Guitar.

Adam von Buhler: I used to sit in my bedroom with my record player and put albums on and just play along with the albums until it started to sound acceptable. So I used to pretend that I was at their recording studios messing up their tracks for them and adding to their music.

Alex Obert: Bass guitar.

Adam von Buhler: I saw a magazine article from a British music magazine and there was a famous bass player at the time, he had photographed his hands so that you could see what he was doing. In the pages of the magazine came a bass playing lesson. And I just stared at the photos, and again, at first you sound terrible, then you sound a little less terrible, until you reach a point where it’s not so painful and people don’t run screaming out of the room.

Alex Obert: Keyboard.

Adam von Buhler: I actually took piano lessons for about five minutes when I was a youngster again and it was just terrible. I just could not figure out my way around a keyboard, so I had to learn my own way to play it. I play it the Adam way that I wouldn’t recommend to anyone else, but it works for me. Joking around, I say that I play keyboards with my elbows.

Alex Obert: Following up on our last interview with Keith getting a guitar lesson from Kurt Cobain, if that was you in Keith’s shoes, how would you have handled the situation? What might you have asked him?

Adam von Buhler: That’s an interesting question. I don’t know if there’s anything you can ask the guy because what he did was so personal to him that I don’t think it can be copied or imitated. So I don’t think there’s a point in asking him to give you tips on how he does it because nobody’s gonna get near that. He could show you how he does his thing and what he does and you’ll still come away from the meeting being the same person you were. Just because he shows it to you doesn’t mean you’re gonna be able to incorporate it. In other words, I probably would have just gone, “Uhhh…” while sitting with Kurt Cobain.

Alex Obert: Where do you feel he would be now if he was still alive?

Adam von Buhler: I often wonder that same question about Jimi Hendrix all the time. I think if he hadn’t died, obviously he was gonna be even more diverse and impactful and amazing than Prince. I’m sure he would have experimented like crazy. And we have no idea where he would have taken modern music. The ironic thing about Kurt Cobain is that just before he died, he really seemed to be getting it together. That Unplugged performance that he gave was I think the last thing that he did, or one of the last things that he did. It was on another level from what had come before. It really exposed that it wasn’t just studio artifice that had made them what they were, they could actually pull it off just sitting in a room together without tons of computer processing and all the sheen and magic that goes on in modern music. They were able to just sit there and create it manually, which was an impressive thing, it seems like he was getting better at becoming a sharper artist as he went on.

Alex Obert: I’d love to get into some of your music, I’m going to go over a few tracks and for each one, share any significant memories or anything involving the writing and recording. The first one is Hidden Secret Song.

Adam von Buhler: That is the closest to an autobiographical song that we have. I mean the lyrics are Keith just basically telling you who he is. And musically it’s just as direct as we can make it. And obviously, it’s got a different smell to it than all the other Anarchy Club songs, but it’s not a joke. It’s not intended to be humorous. It’s just another primal side of us that escaped, despite our attempts to keep it in. That song is about the essence of our lives of who we are and why we are together as a duo. It just captures our world views essentially.

Alex Obert: Foreign Invader.

Adam von Buhler: That is our homage and tribute to Scraping Foetus Off The Wheel. Both of us are huge fans of Foetus, he goes by many different names. But he has this big band from Hell thing going on, it’s like this incredibly, incredibly dark, really depraved and no- holds-barred world view, a musical package that is full of old brass and spit and venom. It’s just great music we both really bonded over when we were first becoming friends. I think it was over an album called Nail. And I remember early on in Anarchy Club’s lifetime, we had a quest, a holy grail where we were gonna find Nail on CD and when we finally did, we were like, “Alright, we can die now.”

Alex Obert: Collide.

Adam von Buhler: I love that riff. Keith came up with that nasty verse riff, and I did the chorus part, although we each critiqued both. I also like the bridge quite a bit there. That bridge where I suddenly have this twangy Stratocaster esoterica, it’s a chunk of an earlier song that I wrote a long time ago when I was a teenager. It suddenly felt like the right thing to go on the bridge of Collide. That’s why the song’s chugging along, then it goes into a left turn and gets this different feel going on. So those were basically two songs drafted together. And that song’s a love song for the Apocalypse, obviously. We’re fairly apocalyptic guys, we tend to focus on the end of the world in many songs. Not sure why that is, we’re generally cheerful chaps.

Alex Obert: Murder Simulator.

Adam von Buhler: Well that’s about Grand Theft Auto. I believe the song title came because somebody, religious fundamentalists or some type of folks were referring to Grand Theft Auto as a murder simulator. And that title just worked on a number of levels. I think the wordplay is really clever on that one. Keith did a good job there.

Alex Obert: Behind The Mask.

Adam von Buhler: Well that’s the big grandioso of them all, isn’t it? That’s the song that continues to dominate even almost ten years later. I remember sitting there and I was holding the guitar and Keith was saying, “Okay, play me something kinda Ozzy-esque.” And I started noodling around and he was like, “Okay, add a little more Satan.” And then I started changing the notes a little bit here and making it a little nastier. And he’s like, “Alright, now add some filthy country like from Deliverance or something.” So he was just kind of throwing cues out there like that. And then after maybe like twenty minutes, we were like, “Okay, there it is. There’s the song.” For the opening guitar riff, he was in the bathroom in my apartment and while I was noodling around looking for a good guitar line, I hit on that and I remember him rushing out of the bathroom like, “Oh! That’s it! That’s it!” I was playing and he kept throwing comments out and I kept refining the riff according to our mental explorations.

Alex Obert: That was your intro into the world of Guitar Hero and Rock Band. How did that all originally come about?

Adam von Buhler: Keith, at the time, was an employee of Harmonix. They came to him and said, “We are looking for content for the game and we heard that you have a band.” They went around to all the people in Harmonix that had bands and there were many. They asked them if they wanted to audition and try and put their name in the hat. So he came back to me and he said, “Do you wanna do this?” And I said, “I don’t know anything about this, but it’s actually a lot of work for me. I’d have to mess with this song technically so that the music is exported in the way that the game authors require.” It was hours of work of fooling around with the tracks. So I was like, “Oh, alright. I’ll do it, I’ll do it.” We gave them a song to listen to and they accepted it. I think what a lot of people don’t understand, what they assume is that because Keith was an employee there, that we automatically got the song in the game. But we had to get chosen just like anybody else. It was definitely not guaranteed, we were lucky and happy that they liked the song. So then I just forgot about the whole thing. And I was like, “I wonder if that will ever turn into something one day.” And then six months later, I started hearing about this game that was taking over the world, massively exploding. Everybody was playing Guitar Hero. It was quite a phenomenon, it was really intense for maybe two or three years. It just blew up. Every single bar across the country had a Guitar Hero game installed so drunken patrons could rock out, it was everywhere. And the happy result was that we got a lot of advertising right at the people who would most like our music, teenage boys. They’re into gaming, they’re into kung fu, they’re into fast cars, they’re into hot girls, they’re into weaponry of various flavors of lethality. So it was just a match made in Heaven. There are record companies who spend a lot of money and a lot of time and a lot of energy trying to plan out something like that. And even then it often doesn’t work, so this was a really happy accident. So that’s the longish story of how it came to be in the game.

Alex Obert: Did you play the first couple games a lot?

Adam von Buhler: I actually am not much of a gamer because I get really anxious when I’m doing anything passive. If I’m playing a game or watching television or anything where I’m not creating something, I get really antsy. So I usually am trying to make the music rather than listen to it. Keith, on the other hand, he’s really dedicated, he’s out of control. He’s as knowledgeable about gaming and even the gaming industry as anybody you can meet, so he makes up for my lack of gaming expertise.

Alex Obert: With Rock Band, how did you appear in the game as a playable character on the track, Blood Doll?

Adam von Buhler: That was funny, we had to go down to the studio and stand there as they drew sketches based on what we looked like, and they did some motion cap of Keith too. They added accessories into the game like my sideburns so that it could show up, which was a lot of fun. How that happened, I think Keith was talking to the person who was doing the character art and the guy was like, “Yeah, you know, I’m always looking for inspiration. Why don’t I just sneak you guys in there?” So that is the unlikely story of how I became a video game character.

Alex Obert: How did it come about that you decided to cover Motorhead?

Adam von Buhler: We both have touchstone bands that we bond over. No matter how far either one of us wanders off in any particular direction, there are always a couple of core bands that we are eternally bound through. Motorhead is one, early Misfits is another. They contain within them the essence of rock. When a person is most receptive in their lives to hearing new music and forming their musical identity, it’s maybe in your mid to late teens, a three or four year period where you just get crystalized as who you’re gonna be musically. And at that point for me, The Misfits just appeared in my universe. Another huge, obvious one is Killing Joke. We really have a lot of respect for that band, there’s a lot of history in both of us listening to their music. That’s an example of something that’s just in our DNA.

Alex Obert: We were talking earlier about Behind the Mask off of your debut album, The Way and its Power, I’d like to get into one of the segments on there. With A Day At The Office, do you feel that was inspired by Pulp Fiction?

Adam von Buhler: (laughs) Well, those are funny, those skits. I think funny as in bizarre. It just seemed like such a natural thing to do at the time because we were so intoxicated with being our own self-contained band and working in our own studio. We had all these tools in front of us that were toys to us, so we made those skits. And years after the album came out, I was like, “Oh man, I don’t know if we should have put those on there.” We kind of second guessed them and had doubts about them, but I thought, “Eh, if somebody really hates them, they can just program their CD player to skip those tracks.” And then years later after that, I kind of had a mental turnaround and I thought, “You know, that stuff’s just so crazy, I’m glad it’s on there.” I could never make those again without being self conscious, but I’m glad that at that time, our pure id just fell out onto the tape like that. And that particular one, the Day at the Office, that is again touching on the main themes of Anarchy Club. Illicit activities, fast cars, weaponry, hot girls, a certain attitude, all of it wrapped into a single ball. And that’s me in the middle saying, “What can I do for ya?” We put a stupid amount of time into those skits too. Looking back on that now, that was kinda crazy. They’re really dumb, they weren’t worth the amount of time that we spent on them to make (laughs).

Alex Obert: Following up on our last interview, you mentioned playing at Middle East in Cambridge, what is it you love about playing there?

Adam von Buhler: It’s really dark and I like the vibe. I hate playing in sunlight and I hate playing on a stage where there’s white lights pointing at you and there’s no atmosphere. I’m really big on atmosphere. Middle East is nasty and dark and kinda dank. It’s an underground club, so they set it up with whatever decorations they can, but you’re still in a dark pit. I like to be in a dark pit when I play. I like it when people can barely see what’s going on so that there’s an element of mystery in there. Even the heaviest, nastiest, darkest metal band, it just doesn’t work in a bright outdoor daylight situation. You’re just not gonna go see The Sisters of Mercy at some Summer festival outdoors.

Alex Obert: Being in the Boston area, what do you enjoy about Boston in general and its music scene?

Adam von Buhler: I like Boston because there’s so many universities here, the city is just dense with different colleges and universities that I have this idea in my head that it raises the level of discourse of the city overall. There’s a certain intellectual buzz that’s going on here. It involves being educated and wanting knowledge and not being an idiot. I like to think that people around me are thinking. I know it’s completely unrealistic, probably all my imagination. It’s a beautiful city, small enough that I can know everybody. In terms of the music scene, there is a town here called Allston which is popping out really amazing new bands all the time. Allston is a neighborhood of Boston. I heard a band from there called Speedy Ortiz and I couldn’t believe that this music that I was hearing was coming out of my same city. I felt a little electric shock like, “This is great and I’m glad I live here.”

Alex Obert: We were discussing earlier how the guitar riff for Behind the Mask came to be, but what are Anarchy Club jam/practice sessions like?

Adam von Buhler: There are only two of us. There’s two chairs and the chairs are facing each other, maybe about two feet apart. And there’s one guitar. A typical jam will start where one of us will be holding the guitar and we’ll go “Chk Chk Chk” and the other one will say ,”Oh, that’s cool, but what if we went CHK CHK CHK.” “Okay, hand me the guitar. What if we went CHK CHK CHK BLLLLUU” “Oh yeah, I like where you’re going with that. But what if it went a little bit over here with this?” And then it just goes back and forth and back and forth until there’s a complete song. And that’s mostly how the first two or three CDs were made. On the most recent one, Life in the Underground, we moved a little farther apart from each other, our houses and our apartments. So it’s been a little more difficult to get together, there’s a slightly different feel of writing something all the way through and I play it for Keith or vice versa, so that album has a slightly different way and a slightly different feel. But that’s a jam session description, just passing the guitar back and forth, looking for that electricity. We’ve abandoned maybe three songs for every one song that does get onto a CD. I think one of the things Anarchy Club has going for it is a sense of quality control. We are not shy about working really, really hard on a song for a really long time and then a few weeks after saying, “You know, that song just doesn’t work.” And just putting it away. There’s a lot of stuff that doesn’t make it through. I think if you don’t edit yourself that way, you’re gonna have some pretty flabby albums.

Alex Obert: In our original interview, you were discussing some of your influences. I’d love to discuss how you discovered some of those bands. The first band is Queens of the Stone Age.

Adam von Buhler: I had known about them for a while and thought, “Oh, you know, they exist. That’s cool.” And then they put out Songs for the Deaf, that’s the album that has Dave Grohl on drums. The album came with a DVD of them recording it. And I watched that DVD and then I thought, “Wow, I haven’t been paying attention here. This is the essence of the rock. I’m always looking for the essence, these guys have the essence down.” And then I saw the video for Go With The Flow and then that was it, then I was captured. It’s brilliant. I saw that video and I felt a huge pang in my soul like, “That’s the one I wanted to make!” They beat me to it, not that I have the resources or the ability to make that video, but I was like, “That’s what I would have made if I had infinite time and infinite money and infinite talent!” So yeah, I love their videos. I like the new album a lot too.

Alex Obert: It’s funny because I had discovered a while back that the music video for No One Knows pays homage to the music video for You Make My Dreams Come True by Hall & Oates.

Adam von Buhler: Really? I did not know that. I definitely appreciate their sense of humor (laughs) They must have done it deliberately.

Alex Obert: Both songs sound alike. And those two sound like the Duck Tales theme.

Adam von Buhler: I’m going to have to go look and confirm that.

Alex Obert: The next band is Nine Inch Nails.

Adam von Buhler: I remember when their first album came out and it was produced by Adrian Sherwood. And at that time, I was hungrily buying up all the music I could find with Adrian Sherwood involved. Anything that he had touched, I was just fascinated with. Before Nine Inch Nails, Adrian Sherwood had this really intense project called Tackhead. I drove straight between Chicago and Ft. Lauderdale many times and all I had in the car with me was the Tackhead Sound System cassette. I listened to that whole album a trillion times. So this guy Adrian Sherwood had all these twelve inches, all these remixes, he worked with all these different bands and he just had this very particular style. Instantly recognizable style. And I heard that he was working with this band, Nine Inch Nails. That album came out and it was brilliant, just the way it was constructed. This is like a nice piece of architecture. It’s just really well-produced and well-engineered. And at the time, Trent Reznor had a little bit of a cheese factor, he didn’t quite have “it” yet. But it still was a great album which Adrian Sherwood just compensated for this kind of silliness that Trent Reznor was doing at the time.

And then after that, of course, there came The Downward Spiral, which was not from Adrian Sherwood. It was this huge, brilliant evolutionary progression forward. So clearly Trent figured out what he was trying to do and worked it out. That first Nine Inch Nails album really got under my skin and into my DNA. And then the ironic thing was that I believe now in interviews, Trent Reznor talks about how embarrassed he is of that first album and how dated it sounds and so on. He’s probably right about that. And with The Downward Spiral, that video for Closer, that just changed the world when that came out. After that video started playing, every video looked like that for years afterwards and still does. That was a major artistic statement there as well. That Downward Spiral record has a lot of texture. What’s not to like? Sometimes it’s not a good idea to overanalyze.

Alex Obert: You have listed your guitar solo influences, so I want to see if you’ve seen any of these bands live. The first one is KISS.

Adam von Buhler: No, I refuse, because there was exactly one time to see them and that was in the 1970’s. And anything now would just be shitting on the memory of what they used to be like. There is no point. It’d be like watching a tribute band. So even if they were playing in the basement of my house, I don’t think I could do it. Especially now since they don’t have Ace Frehley or Peter Criss anymore. But yeah, the seventies, Holy Mackerel! I was a wee one at that time.

Alex Obert: What are your thoughts on KISS having the replacement members in Ace and Peter’s makeup?

Adam von Buhler: (laughs) I try not to think about it. I try so hard to stay away from them now because I don’t want them shitting on my childhood memories. The more I get exposed to Gene Simmons without his makeup on and in these reality shows or whatever, the more I just wish I didn’t know that side of the band! (laughs) He’s such an asshole and I would rather not have known that. There’s really been something lost in the world of art and the world of music. And I think it all started with those Behind the Music TV shows. Those were the shows that took delight in exposing bands for the rat-infested, awful, dysfunctional, terrible things that they really are. And before those shows were popular, you just didn’t know about that side of the bands, you were better off. There was this tiny bit of mystery still left. But those Behind the Music shows made everything into a soap opera. Everything was ironic and now we spend way too much time learning about the individuals who make the music instead of just enjoying it. It’s just wrong, it’s just backwards. There used to be showmanship, there used to be an air of mystery. And now it’s all about tearing artists down and making you feel smug about how crappy everybody’s lives are. I think we’ve lost something in all of this.

KISS is a great example. In the seventies, they had their shit tight! You never ever saw a picture of them out of their makeup. And I used to wonder at the time, “How do they do that? People must be trying to take their picture all the time!” And imagine the pain in the ass of putting that makeup on for every show. It takes hours and they have to do it over and over again. They were just showmen, they just did it. They didn’t complain about it. I would last like two nights, I’d be like, “I’m not putting this fucking makeup on!” So there was that side of it and now it’s like I had the great misfortune to see Gene Simmons on his reality show for one episode and I just never should know anything about who he really is. It ruins everything!

Alex Obert: People nickname him Gene $immon$.

Adam von Buhler: That’s great! I just don’t want that tainting the pure memory I had as a kid of how awesome they were.

Alex Obert: AC/DC.

Adam von Buhler: I don’t usually go to the concerts where there’s thousands of people. I’m definitely more of an underground kind of connoisseur. But if I could have seen AC/DC when Bon Scott was alive, I would have done it in a heartbeat. The energy between Bon Scott and Angus Young, there are very few pairings like that in the history of music. There’s only a few like Page/Plant at that level. And that’s not to slight Malcolm, who holds AC/DC down in the background, but they have two frontmen, Angus and Bon. And again, the essence of rock. Those guys, they don’t have any frills, they don’t have any symphonic orchestral add-ons, they live the life and they are the essence.

Alex Obert: Rush.

Adam von Buhler: I have seen them. It was awkward because they did a pretty sprawling show that had a lot of songs from their whole career. And as I was sitting in the crowd, I came to the very stark realization that I love their seventies stuff up to and including Moving Pictures and I hate everything else that came after it. The eighties in particular were not kind to Rush. They just never were able to figure out ever again what the formula was that had made them so good. So in this concert, they were mixing these great 70‘s songs with these horrible, cold, unfunky, uncatchy clunkers from the eighties and nineties. And I left the show early, I was tired of hearing these songs that were just not touching me. But then they would throw in YYZ or something and it would be perfectly played and it would be fascinating. They were like Queen in that sense where everything was great up until a certain point and then Queen just discovered synthesizers and it was all over. Actually, that’s what happened to Rush too, right? Geddy Lee just started bogarting the synth on everything and they really lost their way. You’re not gonna have one of the greatest rock guitar players ever, Alex Lifeson, have any presence on your album because you wanna put a corny synth on everything? Whose idea was that? It’s just madness, madness I tell you.

Alex Obert: Earlier we were talking about the inspiration behind Anarchy Club songs, if you taught a songwriting class, what points would you make?

Adam von Buhler: My personal preference and I don’t know if this is something I should teach because everybody should do it their own way, but my personal preference is if you’re gonna write a song, write a song. Don’t just stop at one riff that doesn’t get fleshed out, that doesn’t get edited and revised over and over again. I like complexity. I like a verse and a bridge and a chorus that are all thought out and have some effort behind ’em and some thought put into them. The simpler that your song is and the less thinking that goes into it, the less interested I tend to be. Obviously there are exceptions, but I think if you’re gonna write a song, write a song. And the most important thing is you should be able to play it on a piano, just a single person sitting with a piano with maybe just one hand and a person singing. And it should be awesome. Even though ultimately it’s gonna be a rock song with guitar, bass, and drums, lots of production and lots of engineering and special effects and it’s gonna be this whole big thing, if you strip all that crap away, you should be able to sit down at a piano with one hand and just sing through and have a song written. One that people still enjoy. The very, very essential part of the song has to be there and without that, you’re just waving your hands around, basically.

As an example, I know that AC/DC, one of their brothers was actually their producer for their first few albums. And he had that same rule, he said, “You’re gonna play all your songs for me on a piano before you get anywhere near the studio and actually record them as a full band.” So AC/DC songs, you could play them on a ukulele and hum along with them and you’d still have a complete song that made sense and captured people. You don’t think about that when you think about AC/DC, you think they’re just a bunch of yahoos that get drunk and write riffs and just slap ’em together, but it doesn’t work like that. Anything that sounds that good, there’s work behind it and the really good bands make it look easy. They hide the fact that there’s so much work. It looks effortless, but it never is. There’s a history behind it and a work effort behind it that got them there. That’s what I feel pretty strongly about. Everything I did with Splashdown, that was a very experimental band that was big into texture and had lots of sound effects and production, that was so important to the band and it was part of the music, the level of the production. But I always had a really strong sense that no matter how crazy it got, that we still had to be able to play it on a children’s piano and sing it and have a song there. I like to credit myself with having held that together in that sense cause there were definitely times where the other band members were going to get into kind of a formless space and I need a song, there has to be a song in there, hiding in all the crescendos and cotton candy.

Alex Obert: You told me about your strong feelings regarding Gene Simmons, what advice do you have for musicians to keep their ego in check?

Adam von Buhler: If somebody can ever figure out how to do that, they’ll be the new Messiah. I’m not sure if I have been successful at that myself, so I don’t know if I could give a good answer. Being in a band is like being married to five people at the same time without the sex, usually, but with all the fighting and emotional craziness that goes in there. I have personally found that the bands that have longevity and that are the most pleasure to be in are bands where you are friends and you would be friends even if you weren’t in a band. Whenever there’s no friendship bond and everybody’s just in the army or something where you’re working together, it’s a very different thing and it’s more of a power struggle and it doesn’t feel like a family. It can become work and you don’t have as much incentive to keep your ego in check in that case. But if it’s somebody that you really are tight with, you can’t have an ego with a person like that because they know who you are and they know your shit and vice versa. You can’t really put anything past them. So I guess my advice would be if you can, try to be actual friends with the people in your band. Not always gonna be possible, but it makes life better. It makes it less like work. You become a part of the band because of a set of circumstances that you really can’t control, so you’re lucky if you can be in that intense environment where you’re making yourself emotionally raw in front of other people all the time and exposing yourself to criticism and just generating art and not wanting to kill each other. That’s not always possible.

Alex Obert: Moving onto some more lighthearted questions, who do you get told you look like?

Adam von Buhler: George Clooney! In my imagination. (laughs) I used to get told when I was younger that I looked like Nicolas Cage. And then I went through a period where people told me I looked like John Lennon because probably of the glasses I was wearing at the time. And now everybody says I look exactly like Angelina Jolie. Again, that last part’s in my imagination.

Alex Obert: If you got asked to join KISS, what makeup design would you create?

Adam von Buhler: I’m gonna go with the nucleus of an atom or something scientifically based like that, or the golden mean. Something scientific and futuristic, which probably wouldn’t fit in too well with their theme. Not a question to be answered lightly.

Alex Obert: What would your onstage name be like The Spaceman or The Demon?

Adam von Buhler: The Purple Pickle.

Alex Obert: (laughs) In closing, what are your websites at the moment?

Adam von Buhler: The AnarchyClub.com site would be a good one. And my personal site is AdamvonBuhler.com. I’m very slothful about keeping it updated, but everything does wind up there eventually. Those are my two main sites. I’m not too terribly good at self-promotion, as you can probably tell.

Alex Obert: When do you think Anarchy Club will tour again?

Adam von Buhler: When I get a large enough hunk of wood to beat Keith over the head with to get him to want to do it again. (laughs) So the short answer is I don’t know. The long answer is it’s gonna happen, I just don’t know when. The messed up thing about Anarchy Club is that we are really nasty live, you’ve never seen anything like it, it’s really insane and intense, and yet we never play live these days. So that’s a problem. That’s the irony of Anarchy Club. We used to play once every few months for the first few years of the band. And then the effort to stage the show was not commensurate with the results that we were getting. It took a lot out of our lives to put on shows like that, and we need to recharge that battery over time to be able to do it again.

Alex Obert: Can we expect that one of the tour dates will be at Middle East in Cambridge?

Adam von Buhler: I would think so. There’s plenty of places to play in Boston like The Paradise and House of Blues and all those other places. I would personally love to tour South America and Japan. Those goals are always in the back of my mind. I have no idea how we would pull it off, ‘cause it would not be cheap, but man I’d love to play there. I saw a YouTube video of a high school band, it looks like they’re in Argentina or Brazil, playing our song Kill For You. The girl playing guitar, her fingers were bleeding by the end of the video and I was like, “Yes! That’s cool!” We have unfinished business with South America. We need to get down there and play for them.

Alex Obert: Very nice. I’d like to thank you so much for your time and a great interview.

Adam von Buhler: May your rock always be hard!

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Official website for Adam von Buhler
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