Last month Jimmy Whispers came to town, good times were had and we all had a huge hangover the following afternoon. During the show at WestGermany,  Sean Nicholas Savage joined Jimmy on stage for a rendition of ‘What a Wonderful World’ and we afterwards we joined the two in the stairwell to join in on their conversation about experiences as artists, the essence of lo-fi and something they’ve coined ‘gold-shit’. 

S: So there’s this thing that I love – which was the essence of not the lo-fi genre but of just punk approach or soul approach where with four tracks, they make it so people you know, you’re not going to do the vocals over and over and you gotta do one take or four takes and that leaves more room for miracles and liveliness.
J: Rawness.
S: So you create a situation and then as things get more digital it creates this divide, but you did you’re most recent album with very minimal – which I’m very into. You did your latest album with what I consider the essence of what pop four track recording was. It’s a minimal and letting things happen kind of approach – not having low quality, having to bury reality but to have more reality because you have to face that you didn’t have a lot of choices. Comment on that.
J: Yes, well it wasn’t the four track as you know, it was the iPhone recording. So all the songs were one take live – just the vocal, whatever. Live. Boom, that’s it. I insanely agree with this that it’s like letting flaws be part of the character behind the song. It’s part of what makes it beautiful and interesting. A lot of people try to make this lo-fi multi-track thing where they’re trying to make it sound lo-fi but really it’s on a laptop with lots and lots of tracks and it’s not lo-fi and it’s not raw.
S: I wasn’t saying that yet, but what I will say about myself is that I always prefer to polish a piece of shit, than to turn a piece of gold into a piece of shit. Cause you can always tell when gold is shit, and polishing a piece of shit it is a beautiful thing – to make it usable.
J: Well, I have lots of gold shit, for sure. That Summer In Pain Record, that was gold shit. It kind of was, a little bit. It wasn’t trying to make it sound bad, it was just letting it happen.
S: This album has a lot of soul. I think you’re a great singer and a great songwriter. Your singing is not always perfect – I do that too. I love hearing that.
F: Did you do any recordings before Summer in Pain?
J: I would just record and record and record. I had spurts where just four months at a time I would do four songs a day on the iPhone, like the one-track thing.
S: I’m familiar with Summer In Pain but then when I see you on You Tube you have all these other songs and stuff – like with a band and everything. Tell us about that.
J: Yeah. That keeps coming up because I’ve only done the band thing a few times. It’s this band Whitney. They’re like my best friends in the entire world. I picked a handful of songs that’ll be a studio record in the long-view. I have more iPhone records coming out – the next one’s named Daydream Boy.
F: How do you feel about being compared to Mac DeMarco?
J: Yeah, every one of my shows they’ve played Mac DeMarco before I play and it’s like,’ Okay. I’ve heard this every show. I like him. I love him, but please play something else.’ I’m doing something different, but there’s things we share. There was a great article that Subbacultcha put out that I thought was super cute; it was very precise, I think it was called ‘An Ode to Weirdness’ and they kind of dissected and compared me and Sean and Juan Waters and Mac. The four of us don’t sound alike at all, but there’s things we share in common. Strong personalties. That’s part of music.
S: When Dev Hynes was really hot I would get like get ‘Sean’s gotta collar with Dev Hynes’ and I would wonder if Dev get’s that very often…probably not. He’s a sweetheart though. I had a phase that before every show they would play Grimes. I remember some people talking to me and being really sweet, and then and one girl leans over to the other and was like, ‘Who is that guy?’ and I saw her lean into the other girls ear and she just went ‘Grimes’.
F: Who do you want to collaborate with?
J: For me, friend collabs. I’ve been starting some things with friends, like with Whitney – I started tracking a big studio record and those guys play on it. Mild High Club and I wrote a song the day before New Years. We were super wasted in my room with my organs and we wrote this really pretty song together. 
F:What’s your favourite snack?
S:Grilled cheese
F: What was the first album you ever had?
S: Mellon Collie and the Infinite Sadness (Smashing Pumpkins)
J: Space Jam soundtrack. Second for me though was Counting Crows – August and Everything After.
S: Mom had that in the car and I loved ‘Perfect Blue Building’
F: How do you feel about ‘faking it’?
S: If I could take the floor, I’de like to just say – honesty is really highly valued but it’s not to be confused with truth. What’s on your mind is not always what’s true. So, you know, sometimes magicians use lies and ‘magic’ to portray a real truth in the audience. You have to be sincere in what you want to express to someone – that’s true. 
J: My last statement here is to do with the magician thing – at my shows I’m trying to convey a feeling and make everybody feel good.Everything I say on stage is completely fucking sincere, but there is that degree that is an act – but it’s meant with the best of intentions to bring people together and make people feel good. In that way it’s completely like a magic act. It’s like taking all these things that are completely true and real and rolling them up together and smoking that blunt. Smoking that truth blunt.