PAINT is the radical recording/live project of New York-based musician, visual artist, and writer Pedrum Siadatian (Allah-Las). His efforts examine the tonal textures of electronic ecstasy and digital dissonance that echo the excitement of NYC’s “No Wave” and the East L.A. Backyard Party Scene of the 1980s. After his 2018 self-titled debut, the multidisciplinary artist has set out on a melodic mission to capture the electrifying emotion and sonic sequence of the past while embodying that sonic shadow of contemporary characters. His most recent effort, “Whip Of An Ear,” takes listeners on a journey through the visceral vacuum of space, where you can hear the harmonies of our solar system vibrate across the great beyond.
Photo: Tom Porter
Congratulations on the new album! Before we dive in, as a musician, visual artist, and painter from LA now based in NYC, I’m curious how these highly influential, creatively complex towns have shaped your career personally and professionally over the years. Tell me about the early days, dating back to the late 2000s. How would you describe the creative core and often shapeshifting sound PAINT has explored since its creative conception?
Photo: Destefano Deluise
I think I became hyper-aware of my surroundings when I moved because I was orienting myself in a new environment. I was looking for things that reinforced what I romanticized about NYC. In a way, the tracks I recorded out here reflect the NYC tropes that still exist today. As far as “career” goes, I sometimes wonder if I would have had more opportunities if I had stayed in LA because I have more community there. The city has a more cohesive music scene. But it’s hard to say definitively. PAINT isn’t a project that’s been especially popular in terms of record sales, playing big rooms, or anything. Right now it doesn’t have the music-industry machine propelling it forward or magnifying it. I feel pretty content with my decision to move for now because I love being here. In the early days, I started recording songs at home by myself on a digital Tascam 8-track back in 2008 or so. Around that time, my friend Jason Pearl, who I worked with at Amoeba Music, offered to put out my stuff on his cassette label, Living Tapes. So that’s how that first cassette came about. I didn’t play live until 2018. In my mind, PAINT starts with the self-titled record that came out in 2018. The creative drive of the project is just me trying to surprise myself and make music that compels me. Something I was into 5 years ago may not be something I’m into now. I get bored easily and am eager to move on from the past, so I either stop playing old songs or I figure out how to make them fun to play again.
Photo: Alexandra Cabral
Reflecting on those earlier titles such as the S/T, "Spiritual Vegas,” and 2023’s “Loss For Words,” what have you learned about your process, and what experiences still surprise you after each release? While “Whip Of An Ear” has that signature PAINT sound “painted” all over it, something spiritual lurks below the surface. What were the most important and intimate ideas you wanted to achieve and articulate with this body of work? With tonal traces of early OMITD and Suicide’s “A Way Of Life,” I’m curious to know some of the backstory to tracks like “FZTZ CQFF JZ,” Year Of The Rat,” “I Talk Told,” and the album’s epic opener “The Way You Look.”
I’ve gotten better at following intuition, keeping my antennas up, getting out of the house, people-watching, and moving around. Self-recording gives me a chance to experiment and take time to understand the ideas. It has become integral to my process to roll with accidents and mistakes. I am an imperfectionist. At the same time, I need to chip away at things every day, or else I feel guilty. Sometimes you have to force yourself to work even if you’re not in the mood. I think the main thing I wanted to convey is the mix of emotions and characters that accompany city life. “FZTZ CQFF JZ” and “The Way You Look” are companion pieces, different takes on strangers seeking connection on the phone. The difference being “FZTZ” comes across as an etheric sex hotline, and “The Way You Look” is more classically sleazy. “I Talk Told” came about from a jam with Brian Bartus (Monde UFO) the day before a show in LA, and the lyrics are from a poem I had previously written. “Year Of The Rat” is about rats, of course, but it’s also a light allegory for people becoming the worst versions of themselves.
“It has become integral to my process to roll with accidents and mistakes. I am an imperfectionist. At the same time, I need to chip away at things every day, or else I feel guilty. Sometimes you have to force yourself to work even if you’re not in the mood.”
Album Art/Photo: E.W
Having recorded and mixed the record yourself, tell me about working with Bonner Kramer (Shimmy Disc), who mastered it. I imagine an alchemical atmosphere began to stir up once you guys opened the windows. Do you feel both the East and West Coast are represented equally across the album? Released just a few weeks ago, what do you hope listeners will gain from experiencing the sights and sounds of this music? Is there anything else you would like to further share with the readers?
I was really excited to learn that he does mastering and that it was affordable and approachable. We talked on the phone, and he shared some great anecdotes about his time in NY and why he left, etc. He was into the music, and I’m a huge fan of Bongwater and other projects he’s produced/released on Shimmy Disc over the years. Regarding East Coast/West Coast representation, I think “Whip Of An Ear” is a real LA/NY yin-yang record. Oh, you know, just let me in your ears — let’s get in each other’s heads.
