An interview with: Mincemeat or Tenspeed

Is it possible to call someone a musician if they don't use a single instrument in crafting their work? There are no guitars, drums, or keyboards used when one-man Philadelphia act Mincemeat or Tenspeed crafts his songs. He creates the sound from the effects processors and distortion pedals that others use merely to enhance other instruments. This unique creation technique prompted us to use a more flattering term for someone who makes music without the aid of instruments: genius. Our interview with Mincemeat or Tenspeed is below.

You don't use any instruments, so describe how the music is actually made.
I use a feedback loop created by effects pedals as a source. That's then sent through more effects pedals. Lots of pedals. Pedals, pedals, pedals.

How did you even come up with such an idea?
It was a failed attempt to keep playing guitar interesting. I tried for years to learn how to play guitar, could never quite get the hang of it, but really, really wanted to play music. Effects kept getting added in an attempt to erase the sound of the actual guitar. Eventually I just removed the guitar or any other instrument as a source, and it clicked. The sounds you could make using effects were the interesting part of playing music for me, so getting rid of anything that could immediately be recognized from the process removed a lot of creative blocks.

How much of the creation is meticulously planned, and how much is spontaneous?
If everything's working the way it should, then it's all meticulously planned with a little wiggle room. I don't like pure improv, usually don't like to listen to it, [and] hate to do it myself. I don't like jamming with other people, much less in front of people. I always feel like I should take a shower afterward, even when it goes well. On the other side of all this, writing music is totally fun! It's my favorite.

I think "noise" got a lot of buzz a few years back, so there were bands that started labeling their music as "noise rock," "noise music," or some other variation, often times even when they weren't very noisy at all. I'm curious how you would define terms like "noise" and "noise music."
Well, all labels are trouble. It seems like the same thing's happening to noise that happened to punk, where a ton of different sounds and methodologies gathered under one umbrella in the beginning, and the more brutal, masculine elements in the scene tried to enforce what they perceived as the limitations of the genre. Labels are only useful when you're (no offense) writing about music or trying to sell it. Personally, I don't consider what I'm doing noise. It's just noisy.

You've contributed music to the Deathbomb Arc tape club in the past, and I read on your site that you are planning a new tape [Dungeon Master]. Can you explain the appeal of cassettes?
Tapes can be really awesome handmade limited precious items, or totally disposable and (my biggest beef) really shitty sounding if dubbed incorrectly. I think if you're just starting making music and you want to make a physical recording to give to people, the only options that really make sense are CD-R or tape, and the ceiling for quality is way higher than on a CD-R (which is really just an inferior CD). People seem to be pretty good judges of how much work went into creating something, and a tape always takes more work, so they're ready to let it take a higher place in their esteem. Tapes are also the only medium the underground can claim as there own, as no "real" label would put them out for anything other than a goof.

Where did the name "Mincemeat or Tenspeed" come from?
There's a story behind the words but it's not a very good one. Something to do with cops, punk, and misunderstandings lightening the situation and getting us off the hook. It's much better this way than actually told. Putting 'or' between them has something to do with forcing counter intuitive rhythms, this case in speech, as the band name is a hassle to actually say out loud (at least I think so).

I've heard it's caused some confusion, leading you to sometimes be listed on a bill solely under the name "Mincemeat" or solely under "Tenspeed."
Yeah, well I really should have given myself an easier to deal with name like 'Woods' or 'Black Crystal Animal' or something.

I think you told me once that Manifest Wizard (a limited edition CD-R double album released earlier this year) was sort of a holdover until you put out a more proper album (such as 2008's All Critters), when can a new, official record be expected?
I actually consider Manifest Wizard to be a proper album, at least the first CD, the second one's music [that] I like a lot but not a real real album. Maybe it'll get a more distinguished release someday, but who knows? For now there's still copies available! They come with a free Padre Iscand Mood ring! Get 'em before they're gone! My goal is to release a CD proper in September but maybe later depending on financial constraints. The working title for it is Strange Gods.

For that matter, how do you decide what material makes it onto which releases?
Anything I've composed gets immediate consideration for release. Otherwise it's listening to recordings I made on my 8-track and seeing if they're are any good. A lot of listening to stuff over and over again.

Anything else you'd like to share or plug?
Sure, there's a three week tour with Social Junk and Dick Neff coming up in September. The tape mentioned earlier, Dungeon Master should be out really soon on this new Philly tape label Linear B tapes. The artwork for it's amazing, a fold out tiny poster by Bonnie Brenda Scott. Hopefully, Strange Gods in September. If any labels are interested in putting it out [or] working with me on it, please holler. Also, the lo-fi thing's boooooooooring.

MP3: Mincemeat or Tenspeed - "Guns 'N Rosa"

www.myspace.com/mincemeatortenspeed