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The Obelisk Questionnaire: Joe Fortunato of Slow Wake, Sparrowmilk & More

Posted in Questionnaire on February 7th, 2022 by JJ Koczan

Joe Fortunato of Slow Wake

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Joe Fortunato of Slow Wake, Sparrowmilk & More

How do you define what you do and how did you come to do it?

My main motivation is to make music and riffs that I would have loved as a teenager. When I started buying albums for myself vs. just listening to the radio or whatever, I started discovering a new world. Or, a new way of living life – with those songs as my soundtrack and my confidence. They empowered me as a kid, and I keep having that feeling when I hear songs I love. I am forever trying to impress my teenage self. When I was 14 – what would I think of this song I just recorded?

I started playing guitar when I was 13, around early 1985. I was forever hearing lots of classic music in our house. My dad is into rock, classic rock, and he always had music playing. I remember being very young, and deciding I wanted to do that – play music. I had to convince him that I wanted to play guitar and would stick with it. That I wouldn’t give up after a little bit and move on to something else. I made a deal with him – get decent grades in math (my downfall) and he’d consider it. Well, I had a mostly good report card, and then – nothing. No guitar materialized. A bit of time went by, and I figured it just wasn’t gonna happen – until I came home one day, and there was a guitar, amp, strap, and an Ernie Ball lesson book sitting there on the dining room table. It was a no-name Les Paul like Ace Frehley’s, and it was the best thing I’d ever seen.

Describe your first musical memory.

I had teenage uncles as I grew up. This is during the late 70s, so I was indoctrinated with all kinds of great records that they loved. My first real musical memory is listening to Led Zeppelin IV in dark room with those guys. “Stairway to Heaven”. As cliché as that sounds, it was mind-blowing to me at 7 years old. There was a skull candle lighting the room – you know, the sweet 70s kind – and that music sounded so amazing to me. Pink Floyd. Kiss. Black Sabbath. Queen. Nazareth. It started the urge to play music. Everything I do is built from those classic records. If not the sound, then it’s the way they made me feel.

Describe your best musical memory to date.

One of my bands, Venomin James, played the WET Stage at Wacken Open Air in 2011. I’d never experienced playing something that big before, and I felt like I had “made it”. Like, is this what a “real” band feels like? We were treated like a band that was way bigger than we ever were. Our dressing room trailer was right next to Ghost’s trailer – they were on after us on the same stage. They even tried to get us bumped from our slot, which was at 12:15AM on Saturday, because they wanted to play earlier. The Wacken people told them to get bent. So, Motörhead finishes on the Main Stage, right when we’re heading up the ramp to the WET Stage. Then we played to about 8,500 people that were digging us – a bunch of nobodies from Cleveland. It’s hard to top that feeling.

When was a time when a firmly held belief was tested?

This is tough, and I could get deep with it, but I’m gonna go light. When I was first starting to play music and form bands, I always thought that “getting signed” was everything. You get a record deal, and your troubles are over – you’ve made it! I have come close a few times to actually getting something fairly big, but it just never happened. As the years have gone by, I’ve known a lot of people that have gotten “big” deals on major labels or larger indies. Not one of them was able to quit having day jobs or had a lavish lifestyle. In fact, most of them had debt and lots of broken dreams and disenchantment. It turns out that getting signed is not the “thing” – being good and writing good music is the thing. Not worrying about getting rich and famous lifts a load off your shoulders. If you’re not seeing that as the end game, but instead see making good music or art as your goal – you’re on the right track in my opinion. Why are you doing this? If the answer is “because I love it and can’t see doing anything else” – I’m right there with you. In today’s world, you can tour and make music very inexpensively and on your own – why fight for the old way? Be good at what you do and be a real human, and there are lots of people that will help you do things.

Where do you feel artistic progression leads?

Self-discovery. That sounds pretentious, but I feel that as you progress as an artist – however you personally define “progression” – it teaches you about yourself. What are you made of? How far are you willing to dive into yourself, expose yourself, in your art? Do you keep it to yourself or let people experience it as well? I feel that making art, and I’m talking about music here, is a very vulnerable act. I feel like I make a fool out of myself constantly. I ask myself, “Does anybody like this music? Do I look stupid up here playing this? Is my record total garbage?” I have pretty high anxiety about it. I still get stage fright after 30-plus years of being in bands and playing out. I feel like an imposter when I play with bands I love and respect – “Do I belong here? Am I good enough to be on this bill?” So, I feel like artistic progression is this journey, and confronting my fears about it and moving through it.

How do you define success?

Success to me is not monetary. It’s not notoriety or fame. It’s respect. I know a lot of people that play music and make art. Some of them are very successful by anybody’s terms, some are actually famous or even infamous. Some of these people I call actual “friends.” I feel like a good number of them respect what I do, what I make, and the projects I’m a part of. That’s success to me. Being counted among “peers” as someone who has something to offer, musically or artistically.

What is something you have seen that you wish you hadn’t?

I watched my beloved boston terrier, Roscoe, get hit by a car. It was right in front of me. I had nightmares and PTSD over that for many years. And this was when I lived in NYC, maybe five months after 9/11. I actually saw the second plane hit the tower from a window on W25th in Manhattan. I guess that whole time is something I wish I hadn’t seen or experienced.

Describe something you haven’t created yet that you’d like to create.

I’d like to make a film. Two films that I admire immensely are There Will Be Blood and No Country For Old Men. Incidentally, they came out around the same time, so they’re linked in my mind. Connected by the time they were released. I’d love to make a film like either one, and I consider There Will Be Blood to be perfect. Give me the time, and a camera, and I’m off. I have ideas. Stories to tell. I have ideas for the score and soundtrack as well.

What do you believe is the most essential function of art?

Art delivers emotion. Or it allows someone to experience emotion. Some might say it’s there to examine society or examine politics – to me it’s all related. Good art lets emotions come to the surface. You experience the emotion of the creator, or experience the emotion that the creator is hoping you feel based on your own life, your own experiences. What are you bringing to it? How does your mind color or define the art you’re experiencing? Because you experience art vs. consuming it. A song might unlock memories or cement moments that you’ll replay every time you hear it. Music, paintings, films, poetry, photos, or any art – it’s all of the things that make life worth living. Without that, what do we have? Survival? Our jobs? Boring.

Something non-musical that you’re looking forward to?

Turning 50. I turned 50 on November 5. I worked my ass off, and went through a lot of bullshit for a long time to get right to this spot, in this time. Divorce. Unemployment. Debt. Long stretches of not having a great income. I finally got to a place where things are working out, and it’s allowing me to do what I want. It’s allowing me to realize my projects, get gear, and be who I’m supposed to be. I guess you could say I’m actually looking forward to what’s coming for once. That, and I’m psyched up for all the Star Wars we’re getting! Ha!

https://www.facebook.com/slowwakeband
https://www.instagram.com/slowwakeband/

https://www.facebook.com/sparrowmilkband/
https://sparrowmilk.bandcamp.com/

Sparrowmilk, LP2 Demos 07.09.2021 (2021)

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Tour of the Doomed Launches this Weekend with The Skull, Sheavy, Apostle of Solitude and More

Posted in The Obelisk Presents on August 7th, 2017 by JJ Koczan

This coming Saturday, Aug. 12, sees the launch of the Obelisk-presented Tour of the Doomed at a special nine-band kickoff in Milwaukee with The Skull, Sheavy, Beelzefuzz, Castle, Spillage, Apostle of Solitude, Red Desert, Attalla and Son of the Morning. Mercyful Mike Smith, who put the shindig together, has stopped short of calling it an incarnation of the Days of the Doomed fest he formerly ran out of The Blue Pig/The Metal Grill in Cudahy, WI, which I was fortunate enough to attend a couple times, but needless to say, the spirit is there one way or the other for the all-day event that will send Sheavy, Beelzefuzz and Spillage on their way for a week-long run culminating at the Saint Vitus Bar in Brooklyn on Aug. 19.

Ticket links and such are below as a refresher, and take special note as you peruse the dates of the locals added to each gig. From Apostle of Solitude to Argus to Reign of Zaius, each night of Tour of the Doomed brings a local or local-ish act on board that genuinely adds something to the bill. Looks like it’s going to be an awesome tour, and though I know I said so before, I’m thrilled to be able to have a hand in presenting it.

Here’s the info:

For the first time EVER, Canadian stoner/doom legends Sheavy land in the US, and Milwaukee gets to host the kick off of the Tour Of The Doomed! In true Days Of The Doomed Fest style, we present a full day of monumental riffs by the greatest heavy bands going today! Just look at this line up:

The Skull (ONLY midwest show of the summer!)
sHeavy (first time ever in the US!)
Beelzefuzz
Castle (very special fly in show!)
Spillage
Apostle of Solitude
Red Desert
Attalla
Son Of The Morning

This monstrous marathon of molten doom metal starts at 2:00!

Tickets for this show can be purchased here:
http://daysofthedoomed.com/Tour_Dates___Ticket_Links.html
$20 Adv / $25 DoS!

Set times are as follows:
2:30 – 3:15 Son Of The Morning
3:35 – 4:20 Attalla
4:40 – 5:25 Red Desert
5:45 – 6:30 Apostle Of Solitude
6:50 – 7:35 Spillage
7:55 – 8:40 Castle
9:00 – 9:45 Beelzefuzz
10:10 – 11:10 Sheavy
11:30 – Close The Skull

TOUR OF THE DOOMED: sHeavy, Spillage & Beelzefuzz
08/12 Club Garibaldi’s Milwaukee WI w/ Apostle of Solitude, The Skull, Castle, Red Desert, Attala & Son of the Morning
08/13 Reggies Chicago IL w/ Apostle of Solitude
08/14 The Melody Inn Indianapolis IN w/ Apostle of Solitude
08/15 New Dodge Lounge Detroit MI w/ Karmic Lava & Marjorie’s Cane
08/16 The Foundry Cleveland OH w/ Argus, Sparrowmilk & Dead East Garden
08/17 Howlers Pittsburgh PA w/ Argus
08/18 The Depot York PA w/ WitchHazel
08/19 Saint Vitus Bar Brooklyn NY w/ Pale Divine & Reign of Zaius (no Spillage)

Brought to you by Mercyful Mike Management & Productions and Days Of The Doomed Fest!

https://www.facebook.com/daysofthedoomedfest/
www.daysofthedoomed.com

Sheavy, “1111111111”

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