ONELINEDRAWING is Jonah Matranga, singer/songwriter of New End Original and former singer/songwriter of Far. Jonah’s explorations into private music making sounds as if you’re in his bedroom witnessing a personalized performance made from voice, guitar, bass, feedback, and found sounds. Simultaneously full of joy and marked by melancholy, the music is ultimately uplifting.

All songs by Jonah Rzadzinski Matranga.
Recorded in our just outside Jonah’s room in San Francisco in early 2002.

Mastered by Alan Douches at West West Side, NJ.

1. Um…
2. Bitte Ein Kuss
3. But It Was Close
4. Smile
5. Perfect Pair
6. Candle Song
7. Yr Letter
8. Why are we Fighing?
9. Visitor
10. Softbelly
11. Sixes

The Volunteers

On The Volunteers (JT1093) Jonah Matranga seamlessly integrates visceral rock with the intimate, sharp lyricism that has made him one of the underground’s most beloved songwriters. A stunning album of shimmering, eccentric pop rock made spontaneously in many different places, the performances are immediate and diverse, with Jonah’s voice more direct and dynamic than it has ever been. This CD is enhanced with demo versions of album tracks and additional liner notes written by Jonah.

onelinedrawing is Jonah
This album was mastered by Will Quinnell at Sterling Sound in NYC
Art/Design/Layout by Rohner Segnitz

1. New York
2. Over It
3. A Ghost
4. Superhero
5. Stay
6. We Had A Deal
7. Oh, Boys
8. Livin’ Small
9. Believer
10. Portland
11. As Much To Myself As You

Steven On: The Silence of Jonah Matranga

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Steven On: The Silence of Jonah Matranga

Posted on October 28, 2009 at 08:42 PM


Seven years ago I moved to New York City to work for Fuse, then called MuchMusicUSA. My first assignment was to cover the CMJ Music Marathon and interview a bunch of artists, some of those you may have heard of before – Boxcar Racer, the Used, Gary Lightbody (whom you may know from his band Snow Patrol), and Jonah Matranga.

For those of you don’t know, Jonah Matranga is the mastermind behind onelinedrawing, new end original, and leader singer of post hardcore and recently reunited Far. I saw Jonah perform as onelinedrawing on a bill with Planes Mistaken for Stars, From Autumn to Ashes, and Thursday. Three hard-hitting bands flanking a guy with an acoustic guitar and an R2D2 that played music. So, I was in love.

His songs were poignant, humorous, sad and happy all at the same time. And man could this dude wail. That same week, pre-interview, I was at a Jade Tree Records showcase (which was ridiculous as it had Jonah, Strike Anywhere, Denali, and the Explosion all on the same bill) and went up to the merch table to introduce myself to Jonah. But no one was at his merch table. His merch was and a note, written on a paper towel saying, "Leave what you can – gone to rock." The man sold his own merch and was on stage playing, TRUSTING people to leave their cash and take what they would like. It was the HONOR SYSTEM.

Also, way WAY before Radiohead made headlines with their "pay what you can" for the ‘In Rainbows’ album, Jonah would have a sliding scale for all his items, records, shirts, everything. He is a one man Fugazi.

Over the course of the past seven years, I am proud to say Jonah and I have become friends. Especially since he and I share the same feeling, we don’t like people all that much, so when we meet someone you click with you hold onto them. Now every time Jonah comes to NYC we try to get dinner and then I go watch him play. If you’ve never seen him play live it is a mind scramble. I’ve seen him play to huge rooms and the smallest most intimate settings. Once I left one of those industry parties where Beyonce was scheduled to perform so I could run down to Tribeca and watch Jonah at the Tap Bar in the basement of the Knitting Factory.

The thing about Jonah’s shows is they are completely silent. No one makes a sound except to applaud. It’s phenomenal. Only once did I ever hear someone heckle him. He was opening for Coheed and Cambria, again just a guitar, when someone shouted "You’re terrible." Jonah stopped, looked at the dude and said, "Sir, you may not have come here to see me, but no one here paid to hear you." The applause was thunderous. He commands the room – not in a hold-everyone-in-his-palm kind of way, but as friends. He’ll play requests, he’ll play covers, he’ll tell stories in between songs, he’ll interject Avril Lavigne lyrics (as he did tonight,) he’ll go on rants – every show is different and the same.

I can’t remember how many times I’ve seen Jonah perform but I have no intention of stopping. He, in my mind, belongs in the pantheon of artists whose performances are like church, or at least what I feel church "should" be. So, I would like to share Jonah with you all. Please visit his website – – and experience what I have experienced over and over; a super cool guy with a unique perspective, and an amazing singer/songwriter. You will not be disappointed.

- Steven


It looks like Gratitude might be giving us another chance to hear a few of our favorite NEW END ORIGINAL tunes. Check out this update from Jonah:

SO, as we’re getting ready to go out on this last of the year US Tour, we’re talking to our friend Norman, and he decides he wants to come rock with us. For those at all familiar with past stuff, his name is Norman Brannon (most of you know him as Norman Arenas, but it’s Brannon now), and he’s the guy that started New End with me, and as it happens, the guy that introduced me to Jeremy de Gratitude. They’re in the van as I type, headed to the first show; I’ll meet up with them in Denver tomorrow. We’re all really excited, obviously, on personal and musical levels both. We’ll be playing some Gratitude tunes, some New End tunes, sort of whatever feels fun. So, what we were all thinking was already going to be a really fun tour just got its potential fun quotient upped by a lot. Come say hi, see what comes of this strange new turn. We have no idea what will come of it, what we’ll call it, anything. All we know is that, whether it’s for this tour or longer, we’re just gonna rock as hard as possible, cos that’s what rockers do.

Stay nice – Jonah / G-Unit / Whatever : )

**Gratitude (/New End) US tour: 1st part confirmed, the Nov. dates comin soon…**

8:00PM Soiled Dove
1949 Market St.
Denver, CO 80202
P: 303-299-0100

7:00PM Club Sound
579 W. 200 South
Salt Lake City, UT 84101
P: (801) 328-0255

9:00PM Hawthorne Theatre
3862 SE Hawthorne Blvd
Portland, OR 97214
P: 503-234-7474

7:00PM Crocodile Cafe
2200 Second Ave.
Seattle, WA 98121
P: 206-441-7416

8:00PM The Independent
628 Divisadero Street
San Francisco, CA 94117
P: 415-771-1420

8:30PM The Boardwalk
9426 Greenback Ln.
Orangevale, CA 95662
P: 916-988-9247

7:30PM Chain Reaction
1652 W. Lincoln Ave.
Anaheim, CA 92801
P: 714-309-1444

8:00PM Troubadour
9081 Santa Monica Blvd.
West Hollywood, CA 90069
P: 310-276-1158

7:30PM Soma (Sidestage)
3350 Sports Arena Suite 1
San Diego, CA 92110
P: 619-226-7662

8:00PM The Clubhouse
1320 E. Broadway Road
Tempe, AZ 85282
P: (480) 968-3238

7:30PM Skrappy’s
201 E. Broadway
Tucson, AZ 85701
P: 520 358-4287

8:30PM Green Door
329 E. Sheridan
Oklahoma City, OK 73104
P: 405 236-0070

9:00PM Juanita’s Cantina Ballroom
1300 S. Main St.
Little Rock, AR 72202
P: 501-374-3660

5:30PM Gabe’s Oasis
330 East Washington
Iowa City, IA 52240
P: 319-354-4788

6:00PM Warehouse Nightclub
328 Pearl St.
La Crosse, WI 54601
P: 608-784-1422


Jonah Matranga
POB 170118
SF, CA 94117


The trendsetting folks at have bestowed their greatest honor for interactive media on . Chosen among hundreds of entries including Sony Pictures Classics, Apple, Whitney Museum of American Art, Harley Davidson and Nike; DallaVilla won out with their inventive and intuitive vision as executed on the website, created in conjunction with Jade Tree in anticipation of the latest onelinedrawing record.


ONELINEDRAWING’S recent full length, The Volunteers LP/CD (JT1093), has been busy turning heads and breaking hearts since its late March release. So, in keeping with that momentum, we are excited to announce that this coming June 13th at midnight, M2 will be premiering director Tess Ernst’s video for “We Had A Deal” as part of Subterranean. You can link to join us in a steady harassment, voting the badhair bandits of Nickleback exiled to Canada while giving Jonah Matranga and crew some props. While you’re at it you can always drop in on the message board who recently added ONELINEDRAWING into rotation on The Wedge. And if that’s not enough the video has also been spining this week on MTV’s new channel which is broadcast on tons of college campuses across the U.S. For anyone taking care of a few lost credit hours this summer be sure to check it out and let them know what you think!

onelinedrawing [I]The Volunteers[/I] Review

Chris Carrabba once said that if he had heard Jonah Matranga’s Onelinedrawing records first, he might not have bothered to create Dashboard Confessional. Listening to The Volunteers, it’s easy to see what he meant.

Like Carrabba, Matranga has done time as a rock-and-roll frontman, first leading the Sacramento-based outfit Far, then briefly helming the pop-punk New End Original. As Onelinedrawing, Matranga writes and performs — sometimes in living rooms and basements — earnest songs with disarming humor and wit, often accompanied only by his guitar and a programmable R2D2 toy. Much like Carrabba’s outfit, Onelinedrawing is essentially a solo project, with a revolving door of collaborators. Although it started as an outlet for songs that didn’t fit Far’s metallic context, it’s developed an identity and following all its own.

The act’s sound has evolved with each release, becoming more sophisticated and more listenable. Matranga has never been one to stick to a specific style, and The Volunteers shows him genre-hopping more successfully than ever. The surefire cut "Over It" includes overdriven guitars and an infectious sing-along refrain, while "Oh, Boys" rocks a bass-heavy electro-shuffle. The saccharine simple-living statement of "Livin’ Small" is made more palatable by the humorous inclusion of understated Bon Jovi and Puff Daddy references. A number of friends, including the illustrious Dave Sardy, provide the spare but skillful production that makes this album Onelinedrawing’s most polished and accessible work of art.

Middlesborough Town Hall show review

Excerpt from "Funeral For A Friend Middlesborough Town Hall" show review

onelinedrawing are magic. Not the cold, calculating pseudo-psychology of Derron Brown, or the too cool to enunciate TV trickery of David Blaine. Pure, unadulterated white magic; the power to bewitch a room full of bored scene kids and win them over in the space of just half an hour. Workaholic Jonah Matranga’s solo project (well, almost solo) is an excercise in what one person can truly convey from his soul. There’s frustrated maniacal joy (‘We Had A Deal’), soft, screaming, pain and fear (a cover of former band New End Original’s ‘Hostage’); but everything is fused with the power of that voice. A voice that’s not afraid to crack and break, to whisper, or to scream, or to drift as the song takes it through a battlefield of emotion. Halfway through ‘Your Letter’, strains of the lyrics to ‘Fake Plastic Trees’ creep in to the tune, skewing the words to a different tune, infusing them with a new meaning. It’s a trick he tries again later with a beautiful cover of ‘Be Quiet And Drive (Far Away)’, a soft keening voice drifting over haunting guitar echoes. With all these reference points, it’s as if he doesn’t even realise that he himself is a reference point for a whole sub-scene who absorbed Far in their youth. Jonah will later join FFAF onstage as they cover ‘This System’ by Far; but until then, this feels less like a live gig, than a communal singalong, Jonah taking on requests from the crowd to complete the set; less from a need to fill up the time, but from a genuine wish to share. Jonah even invites people to hang around after the show so he can play one guy his request. It’s truly bewitching.


ONELINEDRAWING, having only just got off the road from a stateside tour in support of the gorgeous and compelling The Volunteeers LP/CD (JT1093), are already heading across the pond in order to do a slew of UK dates with cronies , , and . Furthermore before leaving to return home, full of afternoon tea and carrying armfuls of Benny Hill tapes, ONELINEDRAWING will also be playing two shows with super-rockers Thursday.

In the meantime The Volunteers has been garnering tons of praise in the press, so while you wait for the next string of US dates to land take a moment to peruse some links below.

Please consult the Onelinedrawing for current dates.

onelinedrawing [I]The Volunteers[/I] Review

Listening to releases by any of Jonah Matranga’s projects (Far, New End Original, onelinedrawing), it becomes clear that Matranga has no hesitancy when it comes to sharing thoughts and feelings. Live performances are often conducted in an informal manner with the line between artist and audience routinely blurred as Matranga converses with the audience about song origins and other thoughts between — and sometimes in the middle of — songs.

On The Volunteers Matranga’s lyrics continue to reveal intimate thoughts and ideas while his songs musically have become more sophisticated and stylistically diverse. While onelinedrawing’s last album, Visitor, seemed somewhat flat as it stuck to a primarily guitar/vocals format, The Volunteers’ arrangements seem to be more complex incorporating layers of recorded vocals, expanded instrumentation, and additional vocal harmonies.

"Oh, Boys" is possibly the best example on the album of this greater musical sophistication. With assistance from Mike Skinner on electronic drums, piano, and synth, "Boys" is laid upon a light and airy groundwork reminiscent of Jimmy Tamborello’s work on The Postal Service. What distinguishes the track from those recorded by onelinedrawing’s peers is the gutsy use of Queen-like vocal harmonies as a transition into the song’s concluding passage.

Also revealed on The Volunteers is Matranga’s exploration of more atmospheric, score-like sounds ("–> New York", "Portland –>"). There are still tracks typical of prior onelinedrawing releases ("Livin’ Small", "We Had a Deal"), but it is the revealing of new territory that appeals to me the most about this album and makes me anticipate with excitement future onelinedrawing records.

onelinedrawing [I]The Volunteers[/I] Review

When I listen to a band, musician, what have you, many things come into the whole experience for me. Have I seen them live? What would their show be like if I haven’t? How many people are in the band? Who plays/sings what? How was it recorded? Who wrote what song? How many influences do they have? Do they show them? The list can go on for a while, so I’ll just quit while I’m already behind. Onelinedrawing (Jonah Matranga) is one of those artists that peaks a fair amount of my music listening interests. His live shows are enjoyable, his albums are recorded mainly at his home (or someone else’s), he writes amazing songs, and he invites nearly anyone to join in and take part in his music. Have I been anticipating the release of this album? Yes. Do I like it? Yes. Should I tell you what I think of it? We’ve come this far, why not go a little further?

I had a pretty good idea of how this record was going to sound from hearing Jonah’s previously released EPs and LP. He plays a sort of homemade, laptop-born emo-pop (lappop?)-but not too emo-type of rock. This records walks steadily on the beaten path with the tried and true architectural methods that have landed his other releases in constant rotation in his fans’ collections and adds just enough to keep things discrete. The Casio-esque drum beats and metronomes that appear on past records find their home on sailing ‘A Ghost’ and the quirky ‘Oh, Boys’. ‘Superhero’ omits a shimmery whirr that sounds quite similar to effect that oneline’s solo, musical alter ego kin, Owen (Mike Kinsella) used on his first record. I may have let on with a little too much record store junkie knowledge, but hey. ‘Stay’ is a sweeping, apologetic ballad that exhibits Jonah’s earthly, personable songwriting, as is the story with the contenting ‘Livin’ Small’, a song that both displays feelings and teaches lessons all in a pleasing four minutes and ten seconds. Matranga’s feeling of music, art, and life come out in musical form on this song: going for aesthetics rather than feelings, chasing money and not what’s important, like love, and selling yourself out and using your art for financial gain (‘all these punk rock pimps and hoes, selling this and selling those, I mean, what’s the dilly, yo?’).

The upbeat, more rock influenced songs show Jonah’s all-around approach to his music. I have seen him live on a few occasions, and ‘We Had A Deal’ encompasses the feeling, sound, and passion of what a onelinedrawing show is all about. Crunchy guitars, calm, then stressed vocals, and undeniable energy all appear in this whimsical and whirly opus.

The cd is packed with exquisite artwork, and extensive liner notes that include a veritable play-by-play of how each song came about, such as the previously mentioned ‘Oh Boys’, which is a little ditty he wrote for his girlfriend from her point of view, something one might not draw from listening to just the song. The motives of his music and his extensive touring are all explained inside and everything is wrapped up with some nice words by Thursday’s own Geoff Rickly. Also, for those who are of the compact disc addiction clique, the cd pressing has an mp3 portion with rough versions of a few songs that serves as a schematic map to how Jonah writes and constructs his music, sorry vinyl buyers, you’re shit out of luck on this one.

Mellowness overcomes the excitable on this outing, which makes for a more stripped down, heart on his sleeve feeling. Out of all of his previous releases, this onelinedrawing record comes off as a more personal, vulnerable collection of songs, each bursting at the seams with his own signature touch of studio apartment intimacy. This is a look into a man’s life, his love, and his art, pick it up, you’ll need to wrap your ears and arms around this one. Why are you still sitting there? Move!


ONELINEDRAWING’S dazzling and persuasive The Volunteers LP/CD (JT1093) is, as we speak, on the shelves of our nation’s finest record stores, looking all coy and come hither. But if you need further persuasion to head out and purchase Jonah Matranga’s latest oeuvre then consider yourself forewarned that ONELINEDRAWING is currently on the road, rocking their hearts out and no doubt wowing audiences coast to coast, lest not forget Jersey’s finest weekend in on which ONELINEDRAWING plays the main stage on Saturday April 17th, and furthermore Jonah will be taking his show across the pond for a UK leg beginning April 30th in Dublin Ireland. I guess it’s no rest for the wicked…the wicked awesome, dude!


Please consult the Jade Tree for updates

17: Asbury Park, NJ @ Skate and Surf Fest 2004
18: Washington, DC @ Black Cat (1811 14th St NW)
19: New York, NY @ Knitting Factory (74 Leonard St) w/ Christiansen, Cardia
20: Boston, MA @ Axis (13 Lansdowne St)
21: Philadelphia, PA @ First Unitarian Church (2125 Chestnut St)
23: Anaheim, CA @ Chain Reaction (1652 W Lincoln Ave)

United Kingdom Tour

All dates w/ Funeral For a Friend, Million Dead and the Haunted

30: Dublin, Ireland @ Ambassador

1: Belfast, Ireland @ Queen’s Uni
2: Glasgow, Scotland @ Barrowland
4: Middlesbrough, England @ Town Hall
5: Wolverhampton, England @ Civic Hall
6: London, England @ Kentish Town Forum
8: Newport City, England @ Live Arena

onelinedrawing [I]The Volunteers[/I] Review

I have long been of the opinion that anything put out by Jonah Matranga is worth listening to. From Far, to New End Original, to onelinedrawing, and with the recent addition of Gratitude, his track record is damn near flawless. He has yet to generate a record that I dislike. His latest solo release, The Volunteers, is certainly no exception.

I have never been able to trace precisely what is it that I like so much about the man. Maybe it’s his stumbling, almost too revealing voice. It could possibly be that funny arrangement of drum loops and airy but accessible guitar riffs. Perhaps it’s his knack for poignancy in songwriting. Whatever the case may be, The Volunteers plays to all of those strengths in the most naked and exposed songwriting that I think Jonah has yet to offer the world.

The music here is delicate and flowing. Often you’ll hear nothing save for Jonah’s soft, vulnerable voice over an eerie, piercing guitar arpeggio. That, however, isn’t to say that the record can’t break it down to pure and simple rock, either, as is evidenced in “We Had a Deal” (the song that the onelinedrawing camp seems to be pushing as their single). This song is as stripped down and evocative as any song you’ll find on the record, but with the added intensity that’s usually only perceptible in Jonah’s live show. Often, it’s difficult to tell where one song ends and another begins, as one effect blends into another and another and another until an entirely new prevailing melody has replaced the previous song.

I’ve been using a lot of big, descriptive adjectives. I guess that’s kind of self-indulgent. Allow me to summarize things more clearly: Jonah Matranga has once again exceeded the boundaries of music and produced something that can only be described as art. I feel very strongly that this is his best work to date, and that’s saying an awful lot.

Bottom line? I love Jonah Matranga. I love onelinedrawing. I love this record. Buy it or else.

onelinedrawing [I]The Volunteers[/I] Review

Jonah Matranga has a fabulous voice. A bruised and vulnerable croon which warms the heart and satisfies the soul. A voice with the ability to sound sincere but not overly saccharine, ideal for an intimate, acoustic-based record. ‘The Volunteers’ is exactly that. Eleven tracks of emotionally drenched splendour, in which Matragna invites us to sift through his personal thoughts and feelings.

After Matranga’s previous emo pioneering outfit, Far, went on indefinite hiatus in the late nineties, he focused his time on his solo project, Onelinedrawing. He released a string of EP’s, and an album with New End Original (effectively an electric Onelinedrawing record), before in 2002 signing to Jade Tree. Matranga’s first output was ‘Visitor’, a patchy but nonetheless charming LP. Following this he took to the road. Two years of non-stop touring with the likes of Coheed and Cambria, the Weakerthans and Thursday seem to have produced a tightening up, fuller and more diverse sound than many would have expected. Matranga has also really brought the songs this time, full of killer melodies and unusual song constructions.

The brilliant thing about ‘The Volunteers’ is its sweet pop coating. Matranga is clearly not scared to write a memorable pop hook illustrated in the superb stop/start dynamics of ‘Over it’ and the turbo-charged ‘We Had A Deal’. Fortunately, these are not the only treasures to be discovered on this album. ‘Livin’ Small’ is a sweet, delicate ballad and ‘Stay’ a touching heartfelt epic both of which send the pulse racing.

Another attractive thing about Onelinedrawing is, unlike many emo oiks, Matranga has a sense humour which underpins his music. His intelligent lyrics have an occasional comic slant, shown especially in ‘Oh Boys’ with its chant-a-long refrain of ‘boys keep fucking up my car’. I must says it’s refreshing to find this in a scene saturated with overly serious cry-babies.

‘The Volunteers’ is a enjoyable, inspiring and inventive album which leaves you wondering, if Dashboard Confessional can break the mainstream then how long will it be until Onelinedrawing follow in their footsteps?

onelinedrawing [I]The Volunteers[/I] Review

Long before the MTV defined “screamo” fad took the music world by storm, there was the underground phenomenon Far, a four-piece outfit from Sacramento, CA. And fronting this pioneering group was Jonah Matranga, one of the most beloved and respected songwriters in music today. His honest lyrics and soothing harmonies epitomized a genre that owes a lot to him for its popularity. Matranga started work on a solo-project which quickly became a full-time venture following the ill-fated breakup of Far. Onelinedrawing is a lo-fi rock project defined by sparse instrumentation and Matranga’s sincere songwriting ability.

Under the moniker Onelinedrawing, Matranga has previously released several small-label issued EP’s and the critically acclaimed Visitor in 2002. The short harmonic “New York” acts as the preface for the trek through The Volunteers. The most apparent change on this album from pervious material is the addition of full-percussion on several of the songs, as on “Over It.” This doesn’t mean that Matranga has abandoned his unplugged coffeehouse persona that got him where he is today. “The Ghost” and “Oh, Boys” could easily have found their way onto Visitor or one of the Sketchy EP’s. Matranga strumming his acoustic guitar paired with his hush vocals result in the perfect amalgamation that would bring tears to the eyes of Dashboard Confessional’s Christopher Carrabba. Meanwhile, Are Too, Matranga’s electronic R2D2 companion, provides the main structure for many of the album’s tracks with his programmed drum sequences. “Stay,” the most poignant song and standout track on the album, consists of exquisite electric guitar-work, genuine words, and soothing melodies that bring to mind Sunny Day Real Estate. Matranga mixes things up with “We Had a Deal,” a rock-fuse anthem that sounds very similar to Rival Schools or even Matranga’s work in New End Original. On “Livin’ Small,” Matranga speaks from his heart of his mission as a touring musician. The thought-provoking and moving song speaks of his desire to perform, even if it’s in an intimate living room or a parking lot following a show. “Believer” makes use of Are Too’s drum sequences, small segments of keyboards, and Matranga’s simple yet intricate guitar-work. Not everything is this perfect though, for The Volunteers does have its lackluster moments. The tracks “Superhero” “Portland” and “As Much to Myself as to You” are rather dull and fail to develop beyond any promising ideas they may have been on paper.

Although there have been minor changes to the formula on The Volunteers, Onelinedrawing still remains the principally acoustic project as when it began. Relying on Matranga’s candid lyrics and relaxing melodies, Onelinedrawing stands on the line between unknown indie rock and pop sensation. Regardless of who is listening, Matranga will continue to write and belt out heartfelt gems.

onelinedrawing [I]The Volunteers[/I] Review

Any ambitious emo solo artist who cites Dashboard Confessional as an influence but not Onelinedrawing is severely misguided. Jonah Matranga’s accomplishments with these last two Onelinedrawing records bear a likeness to John Samson of the Weakerthans, in terms of substance that by far outweighs the hype that goes with it. This is just his second album under this name, but he’s established a signature of quality that ensures I’ll buy any and every Onelinedrawing record from this day forward without a moment’s hesitation or the urge to preview it for quality. It’s impossible to state with any certainty that this is Jonah’s best work to date; his potential was fully realized by the time "Visitor" came out two years ago. "The Volunteers" is more of the same in the most positive sense of the term. The lyrics are beautiful, and Jonah’s voice is still the envy of any male who wishes he had the ability to sing.

The faster, and harder-rocking songs on this record sound more like the material that appeared on the New End Original disc a few years back. There’s a strong Gin Blossoms-esque mid-nineties alternative rock sound to tracks like "Over It" and "We Had a Deal". Many of the other songs like "Livin’ Small" and "As Much To Myself As To You" are quaintly solemn and minimalist. They’re produced in such a way that you can smell the dusty vinyl and see the turntable spinning in your head. The latter of those songs is the album’s finale, and by far my favorite track; it’s the closest I’ve ever heard to the vinyl experience captured on digital.


ONELINEDRAWING’S The Volunteers LP/CD (JT1093) finally hits stores today and after the release of 2002’s Visitor, Jonah Matranga returns with his strongest record to date. Filled with aching melodies, heart wrenching lyrics, and a distinctively more strident set list – The Volunteers finds Matranga honing in on the songwriter his many supporters have seen him for all along. As potent as it is touching, this record finally merges the spirit of ONELINEDRAWING’S earnest and energetic live show with a recording that truly captures what makes Matranga such a fan-favorite, gig after sweaty gig.

The disc includes liner notes by Geoff Rickly (Thursday) and features an enhanced portion that contains demo versions of album tracks as well as additional liner notes written by Matranga himself.



Please consult the Jade Tree tour page for updates.

23: Los Angeles, CA @ Troubadour (9081 Santa Monica Blvd) w/ Decibully, Roy
24: San Francisco, CA @ Bottom of the Hill (1233 17th St) w/ Decibully, Roy
25: Orangevale, CA @ The Boardwalk (9426 Greenback Ln) w/ Decibully, Roy
26: Portland, OR @ Nocturnal (1800 E Burnside) w/ Decibully, , Roy
27: Seattle, WA @ Graceland (109 Eastlake Ave)

2: Harrisonburg, VA @ Macrock – JMU Court Square Theatre 10:00pm
3: Hamden, CT @ Alumni Hall (275 Mount Carmel Ave) w/ Murder by Death
6: River Falls, WI @ North Hall Auditorium (410 S 3rd St)
17: Asbury Park, NJ @ Skate and Surf Fest 2004
18: Washington, DC @ Black Cat (1811 14th St NW)
19: New York, NY @ Knitting Factory (74 Leonard St) w/ Christiansen, Cardia
20: Boston, MA @ Axis (13 Lansdowne St)
21: Philadelphia, PA @ First Unitarian Church (2125 Chestnut St)
23: Anaheim, CA @ Chain Reaction (1652 W Lincoln Ave)



ONELINEDRAWING’S gorgeous and compelling THE VOLUNTEERS LP/CD (JT1093) is nearing it’s hatch date of March 23rd and Jonah Matranga is hitting the road in order preview all the new songs and say hello to old friends. During that tour ONELINEDRAWING plan to perform on March 8th as part of Apple computer’s MADE ON A MAC series at the Apple store in SOHO — for more information you can read all about it on .

Don’t forget to drop in on for up to the minute news, a glimpse at some exclusive artwork/photos and while you’re at it register for a chance to win a seat at a forthcoming ONELINEDRAWING private webcast concert.

Please consult the Onelinedrawing for current dates.

Booking info: [EMAIL][/EMAIL]


ONELINEDRAWING The Volunteers LP/CD (JT1093) is now available for pre-order (released March 23, 2004). After 2002’s critically lauded Visitor, Jonah Matranga returns with his strongest record to date. Filled with aching melodies, heart wrenching lyrics and enough licks to kill a cat, The Volunteers finds Jonah honing in on the songwriter his many fans have seen him for all along. Made spontaneously in many different places, ranging from the smallest of bedrooms to full-bore studios, all of which contribute to the immediacy and diversity of the performances. The disc also includes liner notes by ONELINEDRAWING superfan Geoff Rickly (Thursday) and features an enhanced portion that contains demo versions of album tracks as well as additional liner notes written by Jonah himself.

The first 100 CD Pre-orders will receive a free onelinedrawing Nameplate sticker. The first 100 LP Pre-orders will receive a free ONELINEDRAWING The Volunteers poster.

Drop in on for up to the minute news, a glimpse at some exclusive artwork/photos and while you’re at it register for a chance to win a seat at a forthcoming ONELINEDRAWING private webcast concert.

We’ll keep you posted as ONELINEDRAWING plans for heavy touring and total world domination throughout 2004.


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Jonah Matranga has completed working on ONELINEDRAWING’S follow-up to 2002′s critically acclaimed Visitor. The Volunteers LP/CD (JT1093), which is slated to be released on March 16, 2004 (Available for pre-order January 20, 2004), was made spontaneously in many different places, ranging from the smallest bedrooms to full-bore studios, all of which contributes to the immediacy and diversity of the performances, with Jonah’s voice more direct and dynamic than it has ever been and bridging the gap between Jonah’s roots and his eclectic songwriting. The disc also includes an enhanced portion that contains demo versions of the album tracks with additional liner notes written by Jonah.

And the packaging for The Volunteers is just as special as the music within. With liner notes written by Geoff Rickly of Thursday and cover art reminiscent of an antique book, The Volunteers is simply one of the coolest packages that Jade Tree has ever had the pleasure of releasing."



1. New York
2. Over It
3. A Ghost
4. Superhero
5. Stay
6. We Had A Deal
7. Oh, Boys
8. Livin’ Small
9. Believer
10. Portland
11. As Much To Myself As You

onelinedrawing [I]Visitor[/I] Review

Varying from the pining of "Um…" to the happy pop of "Smile" to the soft anger of "Yr Letter" Jonah’s OneLineDrawing has finally presented us with a full length record to enjoy along with his endless slew of EP’s. Recorded in various homes and garages and wherever, "Visitor" is an excellent record that shows just how far home recording has come. You can’t really tell at all that this was not done in a major studio. There are some moments where the recordings are a little inconsistent, but for the most part "Visitor" sounds like one congruent record. Anyone who has ever wanted to know where Dashboard Confessional got his/their ideas from needs to check out OneLineDrawing. Most of the songs consist of Jonah on his guitar and his drum machine Are Too (a slightly modified R2D2 toy). "Smile" is one of the greatest pop songs of all time. If it wasn’t for the profanity that pop’s up in "Yr Letter" this would be the perfect record to play for your parents when they came over to your place for dinner. Something you can totally enjoy and they won’t mind one bit.


Jonah Mantranga’s ONELINEDRAWING begins a month of headlining dates today. All dates listed below subject to change. Please consult the Jade Tree for updates.

July- All Dates w/ Acceptance, Breaking Pangaea 7/2-18, Bleu 7/2-9 (except 7/5), 7/10-17 w/ Damone, 7/19-26 w/ The Start, Me Without You
2: Chicago, IL @ Fireside Bowl (2546 W Fullerton)
3: Detroit, MI @ The Shelter (431 E Congress)
5: Syracuse, NY @ NY State Fairgrounds (581 State Fair Blvd) Hellfest
6: Farmingdale, NY @ The Downtown (190 Main St)
7: Boston, MA @ Axis (13 Lansdowne Rd)
8: Hoboken, NJ @ Maxwell’s (1039 Washington)
9: New York, NY @ Knitting Factory Tap Bar (74 Leonard St)
10: Baltimore, MD @ The Ottobar (2549 N Howard St)
11: Philadelphia, PA @ North Star Bar (2639 Poplar)
12: Richmond, VA @ Alley Katz (10 Walnut Alley)
15: Charlotte, NC @ Tremont Music Hall (400 W Tremont Ave)
16: Atlanta, GA @ Echo Lounge (551 Flat Shoals Ave)
17: Nashville, TN @ The Muse (835 4th Ave S) w/ Me Without You
18: Little Rock, AR @ Vino’s (923 W 7th St) w/ Me Without You
19: Houston, TX @ Fitzgerald’s – Downstairs (2706 White Oak Dr)
20: Dallas, TX @ Gypsy Tea Room (2548 Elm St)
21: Austin, TX @ Stubb’s BBQ (801 Red River)
24: Phoenix, AZ @ Modified (407 E Roosevelt)
25: San Diego, CA @ The Scene (7514 Claremont Mesa Blvd)
26: Las Vegas, NV @ Huntridge Theatre-Lobby (1208 E Charleston)
27: Los Angeles, CA @ Troubadour (9081 Santa Monica Blvd) w/ Kevin Seconds, Lessick
29: Orangevale, CA @ The Boardwalk (9426 Greenback Lane) w/ Kevin Seconds, Lessick
30: San Francisco, CA @ The Pound SF (Pier 96) w/ Kevin Seconds, Lessick

1: Seattle, WA @ Graceland (109 Eastlake Ave E) w/ Red Tape, Lessick, Acceptance
2: Portland, OR @ Meow Meow (527 SE Pine St) w/ Red Tape, Crosstide, Acceptance, Lessick

Booking Info: Tim [EMAIL][/EMAIL]


Take a minute out of your day to read the intriguing ONELINEDRAWING interview that can be found at . And don’t forget to check out ONELINEDRAWING on tour. All dates listed below subject to change. Please consult the Jade Tree Tour page for updates.

17: Anaheim, CA @ Chain Reaction (1652 W Lincoln Ave) w/ Amanda Rogers,
27: Los Gatos, CA @ Los Gatos Outhouse (4 New York Ave) w/ Limbeck, Fighting Jacks

July- All Dates w/ Acceptance, Breaking Pangaea 7/2-18, Bleu 7/2-9 (except 7/5), 7/10-17 w/ Damone, 7/19-26 w/ The Start, Me Without You
2: Chicago, IL @ Fireside Bowl (2546 W Fullerton)
3: Detroit, MI @ The Shelter (431 E Congress)
5: Syracuse, NY @ NY State Fairgrounds (581 State Fair Blvd) Hellfest
6: Farmingdale, NY @ The Downtown (190 Main St)
7: Boston, MA @ Axis (13 Lansdowne Rd)
8: Hoboken, NJ @ Maxwell’s (1039 Washington)
9: New York, NY @ Knitting Factory Tap Bar (74 Leonard St)
10: Baltimore, MD @ The Ottobar (2549 N Howard St)
11: Philadelphia, PA @ North Star Bar (2639 Poplar)
12: Richmond, VA @ Alley Katz (10 Walnut Alley)
15: Charlotte, NC @ Tremont Music Hall (400 W Tremont Ave)
16: Atlanta, GA @ Echo Lounge (551 Flat Shoals Ave)
17: Nashville, TN @ The Muse (835 4th Ave S) w/ Me Without You
18: Little Rock, AR @ Vino’s (923 W 7th St) w/ Me Without You
19: Houston, TX @ Fitzgerald’s – Downstairs (2706 White Oak Dr)
20: Dallas, TX @ Gypsy Tea Room (2548 Elm St)
21: Austin, TX @ Stubb’s BBQ (801 Red River)
24: Phoenix, AZ @ Modified (407 E Roosevelt)
25: San Diego, CA @ The Scene (7514 Claremont Mesa Blvd)
26: Las Vegas, NV @ Huntridge Theatre-Lobby (1208 E Charleston)
27: Los Angeles, CA @ Troubadour (9081 Santa Monica Blvd) w/ Kevin Seconds, Lessick
29: Orangevale, CA @ The Boardwalk (9426 Greenback Lane) w/ Kevin Seconds, Lessick
30: San Francisco, CA @ The Pound SF (Pier 96) w/ Kevin Seconds, Lessick

1: Seattle, WA @ Graceland (109 Eastlake Ave E) w/ Red Tape, Lessick, Acceptance
2: Portland, OR @ Meow Meow (527 SE Pine St) w/ Red Tape, Crosstide, Acceptance, Lessick

Booking Info: Tim [EMAIL][/EMAIL]

onelinedrawing Interview

Recently Last Life Media had a chance to sit down with Jonah of onelinedrawing over some burritos in New Haven, CT. Jonah has been regarded as one of the pioneers of ‘emotional rock’ as a member of the legendary Far. For years, onlinedrawing has created quite the reputation by not following the standard rock and roll operating procedure. From releasing records out of his house, playing shows where ever, and applying a unique pricing system for merch, onelinedrawing is truly a pioneer. Onelinedrawing’s latest release, Visitor, is out now on Jade Tree Records, and he’ll more than likely been on tour near you soon.

You’re on Jade Tree now. It’s an actual label releasing your records as opposed to putting it all out yourself. How is that better or worse for you?

Better in that help is great. It’s great to have help, but it’s good to have the right kind of help. Jade Tree are great people. In most business there are people that are really nice and well meaning, but don’t have their shit together, or there are people who are capable but don’t have much ethics. Jade Tree is a really good mix of both of those. There not smart, capable or ethical. ::laughs:: They’ve obviously done this amazing label for so long and treated bands right. I think treated listeners right. They never shuttled off crap. I think they just say what they mean and just do it. I love every band on there and they’re awesome. There’s no down side to them as far as I can tell. You do lose a little bit of the idiosyncrocy the more people you have involved. There’s more people that have to understand exactly what’s happening. It’s sort of the thing of democracy. Its great, but there’s sometimes a watering down of ideals and of weird little concepts. But it’s not in a bad way.

I think there’s a real difference in doing that because of natural societal forces and doing that because of pressure from a label. And there’s obviously none of that there. On balance, I love it. And the cool thing is, I still do tons stuff out of my house. It kind of just left the stuff out of my house to be that.

So the Visitor full length was recorded out of your house too?

Oh yeah, I’m still going to release stuff myself too. I bought a CD Duplicator and I’m going to release tiny short runs of weird things and live stuff. Jade Tree won’t do that. They’re going to handle the more official ‘get in the store’ releases. You can always do the little stuff, unless you get some really bad contract. They’re totally psyched for me to do weird little things, splits and all that other stuff, so it doesn’t impede on my goofy ideas and I get all this help.

Steve (Thursday):
You’re a lucky guy. ::laughs::

Yeah, my advance was also two thousand dollars. :: Steve and Jonah laugh::

Actually that beats our prior deal.

Yeah well, anything beats your fucking prior deal.

Why do you sell your CDs and merch on a sliding scale, and why is it important to you?

It’s funny because that’s one of those things…

I’m sure you get asked that a lot.

A lot of people do, but a lot of the stuff I deal with, like sliding scale, and no set list and Are-Too I didn’t sit down and go "what is my ideal blah blah." It’s kind of been a study in "that will be fun, lets try it."

And that works pretty well?

It does work well, and the larger the scale gets, you know the bigger the show gets, the more the kid comes and has no idea what the hell is going on. He’s never seen anyone do anything other than ‘here’s the price.’ You know, people are like ‘huh, of course I’ll pay the lowest’ which is totally fine. I have no problem with that. But people are confused and sometimes they get sort of nervous and don’t really know what to do, which is kind of part of the reason I do it in a way. If business can get more awkward and more interactive that’s not a bad side effect. But none of those did I sit down and talk with a philosophy major about my money ethic. I just thought it was fun and I’m always the guy that if the kid walked with six bucks and wants a shirt it’s just no question in my mind, it’s just ‘of course.’ So I just kind of like built it into the thing and spurred that conversation. So there are tons of things I can think of after the fact of what I enjoy about it. But none of those things are what justify it to me as an idea. It needs no justification; it’s just a goofy idea.

What is the status of New End Original. Is it still going on or was it just a one-time thing?

We don’t really know. Daniel, the guy that’s playing on this tour, is also the bassist in New End. The first New End record in hindsight is kind of a onelinedrawing record. And the whole plan was to do more records that were more collaborative. And a few things happened, two of the guys left which really hurt a lot and also Norman [Arenas. Texas is the Reason] and I got busy doing other stuff. So it all kind of worked out okay in a strange way. I’d love to play with Norman again, he’s one of my favorite musicians and one of my favorite people. I love that record. I play those songs at onelinedrawing shows all the time. There’s a couple that feel like they belong to that band, so I wouldn’t mess with them, but they’re all songs I wrote way before that record was recorded. So I don’t feel that weird about it. I don’t know whether we’ll do stuff again, but I do know that I love [Daniel] and the two guys that did join after the other guys left are awesome people.

I’ve seen you play in 2 different types of venues. A Small coffee house and a large club setting. Onelinedrawing seemed to start as this small intimate thing and now its been brought to these larger settings. How do you find it working on that new level?

There’s nothing that beats a house as far as pure unfettered musical community hang out. You just can’t fuck with a house. You can’t fuck with the ambiance of a kitchen. That’s just so great to me. That said I’ve had some of the best shows of my life in some very official places. When I toured with [Thursday] last time it was in 1500 seat huge places. And I had a blast. And I’m having a blast [this tour] and I had a blast with Coheed and The Movielife.

Do you think the Music and the Message translate as well in larger settings?

I have no idea. I’m sure it’s totally different. Whether it’s better or worse, it’s hard to be qualitative about it. I think the minute you get too attached to a type of venue or a setting to make your music be good its sort of like getting attached to a piece of clothing that makes you look hot. Or a drug to make you feel a certain way. I’m interested in every space I go into. Of course I don’t play as many quiet songs on these tours because as much as I’m not one to pander to a crowd I’m also not one to go in and be like ‘this is how its going to be for the next 40 minutes.’ I’m kind of into what everyone brings, and if people are rowdy and freaking out, lets go there. In my own fucking weirdo way they have to deal with that. That’s why I don’t have set lists, because when you’ve got 80 songs to choose from its fun to just improvise. It’s kind of the same thing as sliding scale. It’s just more interesting for me. To me the more different spaces I can play the more I can be scared and insecure. I love that. To me that teaches me how to keep enjoying this. All that said it’s been really nice meeting people on these bigger tours; I’m really excited to go do a headlining tour in smaller places. At a lot of big shows I do sidewalk shows after the show because the sets are shorter and really just cause I feel like it. And that’s been a blast too because I’ve gotten one flavor, and than this whole other thing. It’s like putting records out out of your house. You can keep doing all of this stuff. You don’t ever have to stop. I don’t think I’m ever going to be really big or anything, but if I were, I wouldn’t have to stop doing this stuff. It’s weird to me that musicians stop if that was really fun for them in the first place. Why would they stop? I just see no reason to.

What are your 5 favorite records of the moment? What have you been listening to lately?

You know that band Nada Surf? I used to hate them because of that one song.


Yeah, I just wrote em off. Weezer rip-off. I just hated them. That new record is so fucking good. I’ve totally had to eat my words because apparently they are this amazing band and I just didn’t figure it out. Maybe they used to suck and now they’re great, I don’t know what happened, but that new record is killing me. Everyday I listen to it.

That’s one. There’s this woman Mirah on K records, she’s been rocking me for the last year. I found her at the end of her last album cycle and then she put out a new one, and they’re both amazing. Cat Power has been pretty great lately. Same thing. I got her at the end of the covers record cycle then I love her new one.

It’s funny. I love Rock, but for some reason I’ve been consciously more interested in finding heavier music again that interests me. It’s almost like second nature to me to listen to that kind of music. So I like trying to find different stuff that I wouldn’t instinctively go to. But now I’ve been so into soft weirdo music that I want to go back to heavy shit. So there’s been In Flames, I just heard them and they are fucking sick. A lot of the bands like Thursday and From Autumn to Ashes and Coheed and Hopesfall. All these bands are like doing this crazy ass mathy metal thing and its something I never really got and certainly I’m not doing it now. It’s cool to check with these songs that I don’t understand as songs. There’s a lot of influence in the bands I like. There’s an amazing disparity of influence going into making hard rock music now. So I’m just having fun as sort of an anthropologist, just checking it out. I just love music so much and listening to people I think are coming from a good place.

Was there one record that really set you on the path you’re on musically? Something that really opened your eyes to a whole new musical world. For me it was The Mighty Mighty Bosstones Devils Night out when I was 11.

I knew them really well at that time. I grew up in Boston and my friend Josh was their original drummer and the drummer on Devils Night Out.

Anyways. I could tell you a dozen records that occurred at a certain point in my life that really. Zeppelin was kind of like the ground that all my other musical influences sit as far as rock goes. The first Suzanne Vega was my first singer songwriter love. There’s a comp called This is Boston, Not LA which is an old punk comp put out on Modern Method. I didn’t really listen to punk, but that was my little window. Having Gang Green and the Fus and the Freeze. That was huge for me in a weird way. Two records by Joe Jackson, Look Sharp and Be Crazy, the First three Pretenders records. This is all formative musical stuff, all in high school. U2, Boy, War, Live at Red Rocks. All huge. They kind of taught me to sing in a weird way.

Since then other stuff has happened, but something that affects you when you’re 5 affects you more than when you’re 25. There’s lots of new stuff that’s pushed and pulled me in different ways, made me excited. Miles Davis was pretty huge as I got a little older and could get with ‘un-rock’ things. I really think that everything I’ve listened to since then is probably in some way an extension of one of those things I just said. There are plenty of newer more contemporary things but those are the real life changers that always come to my mind when people ask me that. Public Enemy, Fishbone, the Chili Peppers, like the early records like In Your Face, those records were unspeakably big to me and then Nation of Millions was huge.

To me when people say "what are your ten top records," and a lot of times I find people listing things that were released in the last three years and I think to myself "how is that possible?"

All the records I consider my "top records of all time" are not the best records ever written, but are great because they are representative of a certain time in my life.

Yeah. To me if someone says "top ten records of the last few years" okay. Easy. But "top ten records of all time?" There’s just not going to be anything new in there because it hasn’t made an impact.

When you hear a onelinedrawing song you hear a lot of Jonah in it. Was putting so much of yourself in your music something that came natural to you, or was it something you had to really work on?

We all in some way wanna be popular and want to be accepted and when it comes to music and rock dreams we all wanna be on the cover of Rolling Stone and get the girl. It’s sort of like when you want to be a fireman when you’re little. You don’t really know what it is. In the case of rock my whole musical career has been about checking in with those dreams and seeing what still makes sense to me. A lot of them of course are really hollow in the end, and then you have to go, "oh shit, why am I doing this?" In the case of "sincerity", one weird thing right now is that it seems like the look and feel of sincerity is very marketable. In the 80′s it seemed like artifice was what was marketable, the big hair and the fantasy. I don’t think music is anymore real now by nature. Pop culture’s pop culture. It’s just selling clothes that are intended to look like they’re beat up and they’re cheap and you’re down. Whether you’re doing big hair or Adidas or a studded belt, it’s either coming from your heart or its not.

It’s very easy to pick out what’s real and what’s not.

I’m no one to say what someone should like and what they shouldn’t. It’s like Zeppelin and Whitesnake. Its always sad to see bands come along and takes the artificial, superficial elements that made something else beautiful and work it but leave any of the heart behind. It’s capitalism and I’m totally fine with it, but I’m a musical idealist. I’m always telling people "think about the decisions the bands you love are making." They say they’re down for the kids, but how do they’re concert prices reflect that.

Kind of like "what have they done for the kids lately?"

Yeah! If you’re paying 45 bucks to go see a Honda Civic Tour? I test kids almost jokingly. If they go to a tour with a ton of sponsorship, they should ask the band where their cut is. Because all that sponsorship is paying the band more, but the ticket price isn’t going down.

You’d think with a big corporation behind a tour, it would be a $5 show.

You’d think. It’s one of those things where you don’t want to sound like you’re talking shit, it’s like ‘it’s fine.’ I’m very in touch with ‘you’ve got your ideals and you’ve got how well you can execute them in the world.’ For me it’s a huge gap. I try to do things the best I can on whatever level. But I’m a fuck up just like anyone else. I make mistakes and there are things where I’ll consciously go ‘here’s my ideal, and here’s where I am right now.’ You cant beat yourself up about that too much, or other people for that matter. Then you just start being a self-righteous dork. It’s a balance, but I think dialogue about it, and people talking about where we fall short of our ideals, I think that’s awesome.

What advice do you have for someone who would like to be a musician and follow your lead? By that I mean, your music displays a great deal of sincerity. You seem to portray this feeling of confidence. Do you think a lot of where the sincerity in your material comes from that confidence? You know, you’ve been making music for so long do you have to worry about ‘are people going to like this, is this what I want it to be?’ or do you just know where you want to go with it?

I’ve been doing it long enough, and seen enough scenes come and go, and dealt with my own envy and dreams and jealousy and insecurity enough. I recognize them when I see them coming. "Oh, here comes jealousy again… Lets not get all sucked up into that." I remember in high school a huge thing for me was that I really went inside myself and I realized I couldn’t trust my family and friends to tell me if I was good or not. They would just never give me an honest answer. So I really thought for a long time, I remember this very clearly, "I know I like doing this, but do I have a spark, do I have a something?" it wouldn’t be that I couldn’t play music, but for some reason I had to figure out if I sucked or not. I didn’t come out of that period saying, "I’m so great." I came out of that period knowing that there was some little thing there. And that helped me. I’m still very sensitive to criticism. I’m really bad about it. It did help me have a center point where if someone told me I was the best thing ever, I could say "oh, that’s sweet, thank you." Or if someone told me I sucked I could say, "well, no I don’t because I know" That was huge for me, just that little bit of grounding. And still, I’m not an overly confident person. I have this thing where I’m like "you know what, I do what I do." I’m so clear that a lot of people don’t like it, and that’s fine with me. Of course I’d want everyone to like me. Who wouldn’t want that? But, I’m happy.

A lot of people say "I want to start a band, I want to do this, I want to be a professional musician." You can ask yourself all these "What’s your passion in life?" questions, and follow your dreams, and all that shit’s great, but more than anything I think lately my thing is this. Figure out how much money you need to live and then take out a calculator and see how many CDs you need to sell, how many shirts, how many shows, really bust down all the little numbers just to see this dream of yours in real numbers. Just look at it and say "am I willing to do this?" It’s a pretty simple equation. There aren’t that many income streams in rock. Then look and see if it’s a commitment that you’re willing to make. It’s just like a relationship. You talk to the person. You figure out what you like and what they like and then see if it’s a match. I think any dream is like that. We love to talk about them in very airy terms, but its neat how you can look at the most logistical boring shit and it can tell you the answer to these emotional questions.