Guitarist Chris Michetti has never been one to stick to a particular playing style or genre of music. In the past nine years, Michetti has gone from performing at high profile gigs such as Bonnaroo, High Sierra and Mountain Jam with the progressive-rock influenced ja band RAQ to playing instrumental “heady metal” at small clubs around the country, to nearly selling out Red Rocks Ampitheatre with the Disco Biscuits. After an injury left guitarist Jon Gutwillig unable to play, Michetti answered a phone call from Biscuits bassist Marc Brownstein asking him to be a temporary member of the band, an opportunity that would usher him into the livetronica scene as a member of the “Mega Biscuits” in March of 2010. After a few months of playing with the group, Michetti was asked to become a full time member of the Biscuits side project Conspirator along with keyboardist Aron Magner, bassist Marc Brownstein and a cast of revolving drummers, including Lotus’ Mike Greenfield, The New Deal’s Darren Shearer and Pnuma Trio’s Lane Shaw.
Recently, Michetti entered the studio to record dubstep and house music inspired by his experience playing with the Biscuits and attending electronic music festivals around the world. Influenced by artists such as Skrillex, Porter Robinson and Flux Pavilion, Michetti aims to get people dancing with what he describes as “straight bangers.” Jambands.com sits down with Chris Michetti to find out what he has been working on, and what his goals are for the future (and Marc Brownstein chimes in a bit as well).
Justin: So you started off as a guitar player, you were influenced by Eddie Van Halen and Zappa in your early career. Then a bit later it seemed that everywhere you turned people were comparing you to Trey [Anastasio]. So as of this moment, who would you identify as your guitar influences?
Chris Michetti: In the early days I started playing drums, that was my main thing. When I was really young, when I was like eight, I started playing drums, and I was into all the fusion cats and all the crazy drummers that only maybe Japanese boys like. Then through my older brothers friends and stuff in high school, maybe freshman year, I started listening to the Dead. My first real concerts, aside from Michael Jackson were The Who and The Stones. This was ‘89, when The Stones did their Steel Wheels Tour, The Who were on the Kids are Alright tour. Then it was Santana, Little Feat, the Allman Brothers I’ve seen a bazillion times. I grew up in the D.C. area, so we’d go see Danny Gatton all the time, and obviously the Dead was like this whole amazing freakout. I mean it’s R.F.K. Stadium three nights in a row with 30,000 people outside not getting into the show. Things like that that don’t happen anymore.
And then I think my first Phish show was 92 and it was awesome, seeing young guys. It was cool because every other rock star I’ve seen was old or at least older. So then when I saw see these young guys and it was almost like “You know, I could do this!” You know what I mean? I honestly think a lot of people got that.
You get like inspired, like “I could do this.” You get inspired to do it. I still love Trey’s guitar playing, and the early Phish stuff is some of the best music stuff, it’s amazing. Yeah, that was a big influence.
I guess before I got into the drums I was into Van Halen and all that stuff. And you always come back around to what you grew up listening to. When I learned guitar I went through this thing where people were like, “You gotta learn jazz, you gotta know jazz,” you know what I mean? Like you got to know all these jazz chords, you got to know jazz theory and stuff. But if your heart’s not there, your heart’s not there, and it took me a while but I realized that I just kind of want to rock. And I still kind of do that, I just kind of rock. [laughter]
I went through a guitar period during 15 years of my life where I just listened to everyone who plays guitar and studied it devoutly and tried to be the best that I could and practiced every day. The past couple years I haven’t really been practicing like I used to but I’ve been producing a lot, doing a lot more what I would call just music, instead of just guitar. And I feel like it’s made my playing better than it’s ever been—focused and relaxed. When you practice those licks everyday you want to play them and maybe this music doesn’t call for that. That’s why I did the Michetti thing [His solo album, Heady Metal, because I was like, “Here’s an album that I can put all this stuff into and not be forcing it, it’s meant for it. I’m talking about Heady Metal, the shred, it’s just like, let’s shred! That’s the name of the game there.
Justin: It seems like each project you’ve had has a certain goal and a certain focus.
Michetti: I think that RAQ had a goal, but we would lose sight of it and it would change a lot, due to what our success was for that year or what the crowd’s reaction was to certain things. I think we lost sight of having fun and enjoying creating, which is really what it’s all about.
I think we were going through periods where we were like, “Oh wait, we sound too much like Phish and they’re calling us Phish so now we have to sound like this” or “Umphrey’s is great, let’s make a crazy song.” Or the Disco Biscuits, we listened to the Perfume album, we had that in the van for two years and we listened to that like every day. It probably never really came out in our music but we were always worried about stuff…Until now! You know, now we’re just like “let’s have fun!”
Justin: A little while ago you talked about how your jamming style now is completely different than it was and how it’s a more patient, focused kind of jamming. Can you explain what that means and why it’s important, as well as what caused that change in sound?
Michetti: I started playing with the Biscuits and after that show in Miami we did a week or 10 days of rehearsal, and it was mostly just learning the heads or the form of all these crazy Biscuits songs. We learned like 70 of them or something like that, it was nuts, it was like my brain was spinning. But it was so much fun too. I’ve said it before, the Biscuits are awesome dudes, the nicest guys, really generous, the most generous people and they surround themselves with really serious, great people. Plus I was hanging with Tommy [Hamilton] and it was great.
So we learned the heads and then the first show we played on that tour was in Charleston, South Carolina and Marc writes the setlist. I’m going to begin the Brownie impressions now. And it’s like four song sets here. So I’m like, “Dude, what do we do in the meantime?” and he’s like, “We jam, we jam, we jam this into this, flip this, go into the ending of this, flip it around…” And they can talk to each other on stage so that helped a lot too but I was like “Holy shit, what is going on?”
So on the tour bus I like to learn as much as I can and Marc is willing to teach, which ended up starting the sort of communication that we still have today. We just had this talk where he’s like “Alright, I’m going to tell you the whole philosophy here,” and we talked. Then a couple days at a soundcheck there was a good moment, and Marc said to me, “Dude, right there is what you’re doing that no one else does. Who cares about all those licks. You got a billion guitar players out there that can play every lick but that’s what you do that no one else does and that’s what’s going to make you someone special.”
And it made me have this realization that I’m not 22 years old, I’m in my 30s and it’s time to stop being like someone else. Eddie’s great, you know, he’s the coolest guy in the world but I sleep better at night when I do my own thing. We were just at The Big Up and there were some great guitar players there. I used to get intimidated and be like “Oh god, I’ve got to come out swinging” and now I can appreciate everyone way more. I can listen and be like, “Ah man this guy is great,” or “This band is great” And then I go and do my own thing and if it sounds like Trey, who fucking cares? I’m not thinking about it when it’s happening, I’m just letting it flow. And it feels great. I’m making so much music these days and I’m all over the place.
I’ve had some kids come up to me and be like “Dude, what’s with the fucking untz untz shit…You need to shred!” And it’s like, “Wait, I just put out this album Heady Metal, have you not heard this thing?” And they’re like “Yo, what is that?” [laughter]. And then I say, “Here you go, listen to this for a second. It’s as shredding as it gets, for me at least.”
Justin: Well I mean, that’s what we as fans like to do. I’m sure you’ve been on Hyperfunk [The RAQ message board] and you know, that’s what fans do, we’ve got to complain about something… [laughter]
Michetti: Yeah, I guess so. No it’s cool, I mean the RAQ fans can be tough sometimes, I’m sure every fan can be tough, but we love them.
Justin: So talking about now you’re playing with more confidence, you’re realizing you need to be your own person, what are your own personal goals for the future? I remember when you were in RAQ there was this interview where you and Burwick (Jay Burwick, bassist of RAQ) were talking and Burwick was saying “we’re not going to stop until we play MSG.’ What are your own personal goals for the future?
Michetti: Well I don’t think about MSG anymore. I’m in my mid-thirties, you know? I have a family, I’m just trying to make a living doing what I like to do. And MSG was the old dream. I don’t know if it is necessarily is still the dream for me, but I feel like…*
Brownstein: Are you kidding? Get out of my band! [laughter]
Michetti: He’s freaking out. The peanut gallery over here.
Brownstein: You don’t want to play it? It’s still our dream!
Michetti: It’s definitely still the dream. Alright, we’ll play MSG.
Brownstein: You don’t want to play it? Fuck that.
Michetti: I do want to play MSG, I do. But it’s baby steps for me, baby steps. In RAQ we would think MSG, I think when we thought MSG and only MSG we’d lose sight of what it takes to get to MSG which is the baby steps and enjoy every moment of the process, you know what I mean? And that’s basically what it is right now, it’s enjoying the process.
I just want to create, I want to stay current. It’s the music business but I don’t even pay attention to the business, I’m probably the worst about business, I double book shows all the time. [laughter] My business sense is horrible but I just want to stay current with my music. The music changes so much and it feels great because we just played a RAQ show and someone who plays guitar said, “That’s great, you guys are rockers.” And then to come back and make some sick banging electro…
We’re doing a couple of remixes right now of current pop hits that Conspirator management got us stems of. I do a version of, my own version of it for Michetti [his solo project], which is now what Syzzup has become, it’s just Michetti now because no one likes the name Syzzup since it’s a codeine drink reference. And then there’s the Conspirator remix, and they’re both totally current and so much fun to make.
And then when Conspirator_ plays_, you’re also adding shredding guitar on it, so it’s almost like the next level thing. It’s not necessarily jamtronica it’s like newtronica, it’s like new shred, it’s fuckin’ shredding!
So I would love to stay current and I’d love to just keep on making music. I would love to play MSG too. Whoever owns MSG, if they read this, get me in there. That’d be awesome. But I’d rather play a small place with music I believe in than play MSG doing something I don’t want to do, you know?
Justin: Yeah, one day at a time.
Michetti: One day at a time, totally. And enjoy the process, because it’s a lot of fun. And I think that maybe I used to lose sight of the whole process, you know? It’s awesome. I feel so lucky, this summer, I feel like the luckiest guy in the world, you know? Coming from RAQ we were never necessarily in the “it” club, you know what I mean?
Justin: Absolutely.
Michetti: And someone was telling me “Now you’re in the cool guys club” and I was like, “You know what? I have a new club and it’s called the real guy club,” because I’ve been in this other club and now I’m just so appreciative, you know? None of this stuff goes unappreciated. When I see people out there enjoying music, enjoying what we’ve written, or enjoying just the way that we’re playing or even just seeing friends…Seeing Michael Travis at the Big Up, high fiving him, having a great conversation with someone I really admire and he treats me like a colleague. It’s awesome. It’s a cool, cool feeling. It’s something I do not take for granted.
Justin: Yeah definitely, it seems like you’re making connections and getting your name out there. Maybe not more so then when you were in RAQ but the Biscuits definitely have a huge family environment and it seems…
Michetti: Yeah it is more so, it’s definitely more so. It’s a bigger thing. I don’t think we ever reached that point in RAQ, or maybe we never wanted to. I don’t know what it was but it’s definitely exciting. We play with Adam Deitch and Mike Greenfield and Darren [Shearer], he’s amazing. These guys are amazing.
I mean, [RAQ drummer] Greg Stukey is like my brother, you know? And together we would watch Adam Deitch and be like “Woah, that guy is fucking sick!” and the first time I played with him I was fucking nervous. And then now he’s my friend. It’s great, it’s cool. And that’s another thing I’ll tell you, in your thirties, most people have kind of have met their friends, you know? But in the span of like a year, I’ve been welcomed into a huge family of amazing people and it’s a super blessing.
Justin: It seems like every new interview I read you’re getting new remixes, new stems, and all that. Can you tell us more about the collaborations?
Michetti: Well with the Michetti project and the Conspirator stuff we’ve gotten some stems, we’ll do two versions of each. Like we’ll do a Conspirator version or Marc will do a Conspirator version and then when I’m home I’m doing the Michetti stuff which is all pretty much 140 dubstep, you know, 140 beats per minute. I don’t know what dubstep is other than it’s a tempo and that it’s a fucking free-for-all. So, I call them bangers, you know. I love that style, I think it’s cool, actually Barber [Disco Biscuits guitarist Jon Gutwilling] is the guy that actually turned me onto it. This was a couple of years ago, he’s like, “this is the metal of electronic music” and I was like hooked instantly—“This is so fucking cool!” Going to see those raves and those dubstep shows is awesome. It’s like a high energy ragefest. You know? And getting into the production, the chief guys are just so good at it—Skrillex and Nero and Flux Pavilion and Doctor P, they just blow me away. I just got hooked on it and I started making these tracks and then I played them for people and they’re like “Dude, we want to put these out.”
So now I’m getting stems, I just did a 12th Planet remix and that was really cool, and we did an Avicii remix of “Seek Bromance,” we’ve actually done three remixes of that song, we’re just finishing the third one right now which is I think going to be the official Conspirator one and it is smokin’! It’s the tune “Seek Bromance” which is at like fifty million views on YouTube right now so, that’s pretty cool.
I’ve got all these stems lined up and it’s really cool. Porter Robinson we’ve got, and Zeds Dead…It’s not necessarily working with them, you know? We’re not necessarily working with the artist, we’re remixing, which is a lot scarier I think. [laughter] It’s just like “Here’s a remix of your amazing song, what do you think?” But it’s fun, it’s awesome.
Justin: Yeah, I would think that they would be flattered by it.
Michetti: I would hope, I don’t know, we’ll see. Hopefully they don’t throw it away and be like “SHIT! Get this crap away from me!” [laughter] But it’s good stuff, you know? For the remixes you just try and do your own spin on them. And it’s such a cool thing about the electronic music world right now, that one guy puts out a song and then he gives it to these other people he likes and they all do these takes on the same song. It’s really cool to see how the brain works differently, you know?
Justin: Absolutely. Everybody’s got their own influences and they’re all from different areas from the world. The U.K. grime scene is completely different than the U.S. dubstep scene right now.
Michetti: Yeah, yeah, it’s all different. The coolest thing for me about making electronic music is coming from playing in bands since I was in middle school, I remember doing our first demo when I was in like 9th grade or something like that. It was like, you’re in a band, you write these songs. Basically you’re writing a song but you’ve got to write it for a band. You’ve got to write it like, “Here’s the bassline, I want you to play it like this,” and then he changes it a little bit or this guy changes it a little bit and then you go into the studio ‘cause you don’t know how to work any of this equipment and this guy makes it sound like he thinks it should sound. Now that’s been going on forever, all the way through my whole RAQ career, you know? And with Michetti I started learning how to do it all and now I just think it’s the coolest thing in the world that with a laptop and a shitty pair of headphones, it doesn’t even fucking matter, you can use your laptop speakers, you can make a product that’s viable in this world. It’s a fucking song! It’s not just like “Oh that’s a great demo” but “Dude, that is a fucking banger! Holy shit man, I want to spin that, I want to put that up, I want to put that on beat board, I want to make that shit work.”
It’s liberating. It doesn’t take much, it takes a little computer. I use a 13 inch Macbook Pro. [laughter] You know what I mean? And I started on these little crappy speakers and I still use those little crappy speakers. I just think it’s cool to play it for 12th planet, to play a remix of his song and have him be like “Oh that’s awesome, man that’s fucking killer. What did you use for the basses, how did you do that?” It was awesome, I did it on my laptop, you know? I didn’t have to go into a big studio, I didn’t have to like go through the rigmarole of talking to four other individuals about this song or practicing the parts or teaching the parts. I finished it in three days. It’s so cool. And then obviously with the internet, you can put it right up.
Justin: Yeah it’s all that do it yourself punk ethic that’s going around right now.
Michetti: Yeah! And with technology and everything it becomes less punk and just amazing. From the technology of the equipment that people are using at the shows and the actual plugins and capabilities of a little laptop. The fact that there are eighteen year old kids who are just incredible producers, it’s awesome. The bar just keeps getting raised, it’s unbelievable. These people who are making this music these days are young, young people and making shit where it’s like “How the fuck did they do that?”
Justin: Yeah like Skream, Skream started when he was 17, so he’s got a couple years on you.
Michetti: Yeah I mean, most people have a couple years on me but you know, I still look pretty young. [laughter]
Justin: So with Conspirator I know you guys are trying to release a new album, you’ve got a big extensive fall tour behind it. What’s in line for Michetti? Are you going to do a tour? I know there was an EP that you were working on.
Michetti: I think I’m going to start playing more shows after Conspirator, probably in November-December. I’m going to start DJing shows, I’ve been practicing a lot, spinning my tracks and getting them going and yeah, pretty much just touring. It’s a lot of fun. I mean, DJing is a whole other world. Even producing is a whole other world. But I’m hooked on it. It’s so much fun to spin your tracks and my guitar friends are like “Dude, you’re not doing anything up there!” But you are, you’re doing a lot up there, you know? You make a wrong move and it’s like ugh. You got a whole crowd of people raging and if you stop that dance party, you suck. [laughter] It’s more like energy transfer. So yeah, I think I’ll be touring a lot more and just trying to keep it Conspirator and Michetti, those two projects are my focus right now.
Justin: So you were saying it’s all about energy transfer and getting the crowd into it. What do you feel makes a good live show? How do you feel your debut performance at the silent disco at Camp Bisco went?
Michetti: It was tough at 5:00 in the morning at a silent disco to debut songs. But it was fun for me because in Vermont one of the guys who really got me inspired to go for it is my friend Adrian Sakgrime, AKA DJ Haitian. He’s incredible. He’s an amazing DJ and he’s a great producer. This guy has been DJing forever and just knows how to do it. He knows all different styles of electronic music, and I played him a couple of tracks months ago and he was like, “this is awesome, I’d love to work with you.” And then it turns out he lives in Burlington and then it turns out he moved like right next to me.
So we started making some stuff and doing some stuff and he was like “I’ll show you how to do this.” He’s almost like my DJ mentor. So it was cool to have him show me the ropes and honestly practice and work on my set. And that aspect is awesome. I feel like I have my set of music and it keeps growing and I feel real confident in playing a show, you know? I think that was the best part of the silent disco, it was probably the perfect place to debut anything because at that point, who really cares?
They’re designed to be fucking bangers, you know, loud and proud. So, I can’t wait to play them loud and have fun. It’s all about having fun with that stuff. So, yeah I thought it went ok. I think the real debut is when I put them up on the internet and see what people say. But I feel that I debut songs for people all the time and everytime I play one of my songs for someone it’s like a debut. I listen and I say, “What do you think? Should I change this, should I change that?” It’s cool to get feedback.
*Justin: So do you have any plans to turn back to the Heady Metal project or are you going straight Michetti from now on?
Michetti: I get asked to do that a lot in Burlington because for some reason it was cool in Burlington, people love it. And it’s just, I don’t know if I have time right now. The Heady Metal thing was a lot. It made me realize how with RAQ it was much more of a democracy in that, we’re going to learn a song and you’re expected to know a certain part. With Heady Metal, I’ll never forget the first practice—we totally got baked, puffed a couple bowls, drank a couple beers and then I was like, “Okay…” and they were like “Okay…what do you want to do?” And I was like, “Uhhh…” [laughter]
And every practice from then on out I literally would show up with a game plan. I would practice to practice before I even went to the practice. And show up and go “This is what we’re going to work on.” I would try to be as quick as I can and efficient as I can and learn the songs. We haven’t played them in a while where I’d have to relearn all the songs again and it was a lot of work. I don’t have any immediate plans to do that again. I consider the electronic music very similar. And my wife, she heard the Heady Metal throughout the whole process and she’ll say “It kind of sounds like that song!” And I’ll be like, “Oh my god, it is. It is that song but it’s not done on the guitar. It’s got a different tempo and it’s got a lot more bass.” But yeah, I don’t really have any more plans to do that. I’ll probably just focus on making more bangers. It’s so nice and comfortable here in my apartment studio.
Justin: So working with the Heady Metal project, was that your first time running the studio? Could you describe the songwriting process right now, for Michetti and Conspirator. Is it a group effort? Is it you, or you and a couple of people?
Michetti: Well I think for Michetti and Conspirator, the electronic thing, it’s very game plan oriented. You know, if it’s me and I want to write a dubstep song, I have a plan for that song. It’s cool because I what tempo it’ll be and then I’ll just start right away with that tempo. And there’s so many different fields you can pull with that tempo, but I’ll basically start with a tempo and start messing around on a keyboard and start dialing up some sounds, and then take it from there. It’s like a lot of sound synthesis and then a lot of beat making. And then there’s a lot of mixing to make everything pop.
With Conspirator it seems like we do this thing where there’s even more of a game plan. Conspirator is all over the place, you know, with Michetti it’s mostly dubstep, it’s actually all dubstep now. And with Conspirator we do everything—drum and bass, electro, dubstep, house, pretty much downtempo now, we actually started getting into the moombahton stuff which is 110 awesome it’s so much fun stuff, and the Dutch house stuff. Conspirator is this excuse to experiment with every form of electronic music. And you know, we play a lot. And it’s the same thing we used to do in RAQ, we come home and we’re like “We need another one of these tempos or one of these songs.”
And that’s kind of where the game plan starts with Conspirator. We’ll sit down, maybe the night before in a session and we’ll be like, “What do we want right here, do we want another 128 banger?”…You know, 128 tempo… “What do we want, maybe a dark wobbly one?” We wrote the song “Koontosh” recently and was like, “Let’s write an end of the night magical major progression.” Because we’re all musicians, let’s all use all of our music and make a major progression. And me and Marc messing around, one of us will be playing. I’ll normally start and make a drum beat and we’ll all just be sitting there and we’ll start messing around with the progression and all of a sudden someone will say “Oh that’s nice, let me see it,” and we’ll get on the keyboard and someone will mess with the sound and it’ll just evolve, you know? It’s just an evolving thing. But it’s under a full game plan, a plan of attack. We want it to sound like this, you know? “Let’s get one that sounds like this.”
Me and Marc we’re doing the Conspirator version of the Avicii song “Seek Bromance” and I think it was a very similar thing. We talked about it before we even got near the computer. We’re like, “What do you want to do with this song?” And he had an idea and I had an idea and we both did different remixes on it and honestly I feel that we fell right in the middle of it. His was the major version and mine was the minor dubstep and now it’s like this major over a minor chord sound, right? It’s funny that I was just saying that it’s exactly halfway between. It’s like a combination of the two and then we’re like, “Okay, now we’ve got this part for the song and we’ve got the intro and we’ve got this, let’s make a cool part.” I think for Conspirator, at least for me, I’m picturing the crowd moving, and we’re making them excited and horny. Sex music basically is what we’re trying to make with Conspirator.
Justin: So it’s baby making music.
Michetti: Baby making music, which has changed since the 70s. It’s no longer Barry White, now it’s loud bass in your face with crazy noises. But yeah, it’s really game plan oriented and there’s always these talks, “We need this song, we need a drum and bass song…” I want to play a lot more drum and bass, I want to write more drum and bass, but these guys are over it because they’ve been playing drum and bass for the past ten years. We saw Pendulum at Ultra and Marc looked at me and was like “man, drum and bass is coming back” and I was like, “Cool.”
Brownstein: If Skrillex says it’s cool, it’s cool.
Michetti: Everything Skrillex does is cool…That’s going to get some comments. [laughter]
Justin: Except getting his laptop stolen and spilling beer on his laptops, that’s not really that cool.
Michetti: Yeah, but he can afford a new one. I really like his music, I think he’s awesome and we, you know, met him a couple of times and he’s the nicest guy.
Justin: Yeah, I was into Skrillex when he was in his old band From First to Last, I liked him back in his emo days.
Michetti: Ah no way. You’re old school, O.G.
Justin: Total O.G. Back when he had the Skrillex haircut and wore tight jeans.
Michetti: Nice! Yeah I mean, like I said, I don’t really hate on anything really so I like tend to be blown away by everyone but the top of the pops these days, I really find it hard to believe, I understand if you don’t like a style of music, and if you don’t like dubstep or you don’t like electro you probably shouldn’t listen to Skrillex. You probably just shouldn’t listen—it’s like the Howard Stern thing. “He’s nasty! He’s rude!” then don’t fucking listen to him! Like why are you listening to him, you’re not going to like him. He talks about strippers all the time. If you don’t like a grown man talking about strippers, you’re not going to like Howard Stern. You know what I mean? If you don’t like dubstep, then don’t put on Flux Pavilion dude! It’s dubstep! Don’t get upset that someone else likes it. There’s a couple of people in this world, everyone likes different shit.
Justin: Can’t make everyone happy.
Michetti: Can’t make everyone happy. I mean Marc’s daughter was telling me today that Chuck E. Cheese has the best pizza. I didn’t argue with her, she’s four years old. What am I going to say? Chuck E. Cheese probably doesn’t have the best pizza, at least not to me but to her, she loves the pizza.
Justin: One final question. RAQ was described as “Hyperfunkalicious Rock and Roll,” “High Performance Rock and Roll.” How would you describe Conspirator’s sound and how would you describe Michetti’s sound if you had to give a little phrase to it?
Michetti: I would say the Michetti sound is very… it’s banger town. You know? It’s fucking straight banger town. It’s very up front, everything is right up in your face, up front, banger music. And I think Conspirator is a journey through electronic craziness, you know? It’s like, um, I don’t know, what’s the name for Conspirator? How would you describe what we do? We talk about this a lot.
Brownstein: Conspirator is just we play, we explore every genre of electronic music.
Michetti: Yeah, like I said before. We’re sort of genre bending all of the electronic stuff, and you have to add the fact that it’s live.
Brownstein: We play dubstep, downtempo, electro, house, and drum and bass.
Michetti: But it’s all played, you know? So we haven’t really come up with the one word for Conspirator yet besides sex party. We’re the Ron Jeremy of electronic music, how bout that? Ron Jeremy. That’s how we describe our music. [laughter]
