As stated on the news page, and in our e-mail blast, Kevin is allowing fans to submit questions for answering. Please post any questions you would like to ask Kevin here. When requested by Lucky Pierre Music, we'll send over your questions for consideration/answering. Obviously, we don't know which questions will get answered, or when we'll get the answers back, so keep that in mind.
 
I strongly suggest every fan take advantage of this chance. It's not very often that Kevin opens up communication like this, and who knows if/when he'll do it again. So, get your thinking caps on and start posting those questions!
 
-Rob

A few years ago you collaborated/produced the "Yeah" EP with your brother Brian.. Has there been any further collaboration since then?

Other than the fact that it's a basic necessity, how has cooking played a part in your life in recent years? Any favorite recipes? I know there was rumor of some sort of cooking show in the 90's..  
 
"Two 303 size cans of tomatoes
Some fresh ground oregano americano
A cup of pinto or kidney or black beans
Get it simmering
And then you've got it, man
You've got it, man"

A few questions:
 
First, one you likely hear a lot: Will the previous vinyl-only Lucky Pierre material (singles, the Communiqué EP) ever see a release on a CD compilation of sorts?
 
Two: What did you do to develop your scream? Comparing the Communiqué EP and Prick versions of "Tough", the intensity of the scream in the latter is quite a difference from the former. I sing a lot myself, not professionally, never been trained either, but I do all right but have never been able to yell/scream/shout without straining my vocal cords or sounding like a wimp. What did you do to develop your screaming voice, and what can you suggest I or others could do?
 
Three: Have you ever heard the band Sparks? They strike me as similar to you and your work: Americans whose music and vocals sound rather British, who create really inventive and unconventional pop music with a lot of wit in the lyrics. If you haven't heard 'em, I suggest their '74 album Kimono My House.
 
Thanks, Kevin. :) You're a god among pop/rock/everything songwriters.

Wow! Questions for Kevin McMahon! Thanks guys for working this out guys and keeping the site going!
 
1. Can you give us any insight into how you articulate the themes/stories you tell thru song sequencing and genre blending? how the music physically articulates these attitudes, thinking about genre contrast, music/song references to other songs?
 
You have a great sense of humor. Could you talk a little about how you layer levels of meaning and connotations? how lyrics directly intersect with the music and song sequencing to make connotations?
 
To be clear, I noticed the following, so you know what I've been thinking about.
 
2. A few times you refer to other songs, by design or coincidence I don't know. For example, in "Johnny Goes To Paris" the bass breakdown is similar to like The Beatles' "Here Comes The Sun" (at :24, :52, etc.) Is this a coincidence? or do you, with forethought, decide to refer to another song? does it happen unconsciously and you decide where to place the reference, keep, drop or change it? With this in mind, how do you think referring to other songs should function in music generally? (I do it in my songs too, sometimes. Usually it's unconscious and later on I decide exactly how I want to stage it.)
 
2. You blend genres and refer to genres in your songs. The first half of ThinKing falls into what I call "bubblegum industrial" and I don't mean that in a derogatory way at all. I think there was a promoted idea that "industrial" should be "tough" (I think someone wrote a song about it! jaja) and "edgy." Your songs are accessible, are in no way cheesy, and musically rich enough to interest music aficionados. But, I can well imagine teen girls enjoying these songs, as well. Was this intentional? To show "industrial" doesn't have to be that brand of "tough" and still be effective. Did you try to design a mood that is literally more appropriate to the perceived market-target audience ironically? Could you talk a little bit about that?
 
How do does your lyrical content, often preoccupied with both youth and aging (more interesting because songs written in your youth do this too) intersect with the music itself? Do you give that much thought?  
 
On ThinKing's second half, you give us "Johnny", "Attitude", "Come To Bed" and "Cosmic Kids" in succession. To be simple one might group them roughly: ska (because of the guitar's up-picking), country rock, pop industrial and guitar ballad, though all have subtle meta-references to other genres so they aren't completely genre specific.
 
Question: did you sequence the songs to showcase your versatility (you said record companies insist on an artist being specifically --and stiflingly-- branded) to make a critical musical statement? For example, "Johnny" and "Attitude" precede an industrial song that seems to mock (or make a caricature of) certain industrial luminaries and the general triteness we hear in much industrial. In "Come To Bed" do the references to bondage, funky auto wah bassline, throaty/faux sexy vocals directly contrast the funny and yet personal-seeming narrative in "Attitude" about family? (Especially funny, too, because it's "family" and "family comes from the bedroom"). Both are followed up by "Cosmic Kids" a song about the aged, which apparently you wrote when you were quite young? I'm interested the statement the songs' sequencing makes and the different levels of connotation you employ lyrically and thru genre contrast. Could you talk a little about that?
 
This is quite long, I realize. But if my observations make it to you, I appreciate any commentary you are willing to give. I started writing music around when I heard Prick, and you're the only "new band" from my youth I still regularly listen to. I play music full time and you were a big influence there. In fact, I was just kicked out of a popular band because the crowd liked me too much! You've consistently updated what is musically relevant to culture and I only wish we could have heard more along the way!
 
Thanks
TV

First off thanks for the great artistic talent you have shared with us!  
Just curious if you will be performing any live shows in the near future? And if so, will they be posted on the luckypierremusic website??
"Don't Say Maybe" is great, can't wait to hear more.

I get the impression Kevin's music is very dear to him and that the industry represents a threat to the integrity of this music, and as a consequence his output has been suffocated, possibly as a protective reaction.  Does his motivation to release music in the post-nothing records era have much to do with the recognition of his uniquely dedicated, insular fan base, and a desire to share with them, and only them, this music which he's guarded so personally over time?

hey my girlfriend's in sweden right now, she's doing a vintage clothing show in stockholm tomorrow
 
okay i have a question:
 
Why the pseudonyms? I understand the statements as they have been made, the different styles and meanings that come with each one, but does it have any actual benefit? The fans are going to want to listen no matter what you're called, and the rest of the world can't be bothered to keep up. Why not make it easier for all parties to explore the music without constantly seeking.
 
There is something to be said for not selling out, but there is also something to be said for making enough of a living from music that you can spend your time focusing on producing it instead of surviving through other means. That is, assuming you want to spend your time that way, perhaps that's not the case.
Thanks, I'll take my answer off the air Diane (NPR joke).